Fall 1998, Vol. 57, No. 3

Race and Visual Representation

Guest edited by James Smalls and Judith Wilson; portfolio selected by Kenseth Armstead

Fall 1998

James Smalls, Visualizing Race: A Lifelong Process and Training, 2

Kenseth Armstead, Surface Tensions, 4

Eduardo de Jesús Douglas, The Colonial Self: Homosexuality and Mestizaje in the Art of Nahum B. Zenil, 14

Ellen McBreen, Biblical Gender Bending in Harlem: The Queer Peformance of Nugent’s Salome, 22

Norman L. Kleeblatt, MASTER NARRATIVES/minority artists, 29

Magali M. Carrera, Locating Race in Late Colonial Mexico, 36

Karen K. Kosasa, Pedagogical Sights/Sites: Producing Colonialism and Practicing Art in the Pacific, 46

Herman Pi’ikea Clark and April A. H. Drexel, A Native Hawaiian Visual Language Project and Native Hawaiian Artists, 55

Jeannene M. Przyblyski, American Visions at the Paris Exposition, 1900: Another Look at Frances Benjamin Johnston’s Hampton Photographs, 60


Michael Brenson, Alejandro Diaz, Judy Kim, Malgorzata Lisiewicz, and Jessica Murray, American Canvas: A Roundtable on the 1997 NEA Report, 69


Holland Cotter, Agnes Martin, 77

Richard Meyer, Paul Cadmus, 80


M. A. Greenstein on Out of Actions: Between Performance and the Object, 1949–1979; Alexandra Anderson-Spivy on The Freeze Generation and Beyond; Steven Nelson on Richard J. Powell, Black Art and Culture in the 20th Century and Alan Read, ed., The Fact of Blackness: Frantz Fanon and Visual Representation; Melody D. Davis on William C. Darrah, The World of Stereographs; Richard Leslie on David Craven, Poetics and Politics in the Art of Rudolf Baranik; short reviews by Deborah Johnson and Alexandra Anderson-Spivy