"Anyone who’s been paying attention for the past two decades has noticed that art history (just like the other humanities) has been furiously globalizing itself. From fighting Eurocentrism to tracing global networks of exchange, to acknowledging the incommensurability of multiple modernities, to challenging the category of art itself as an ideological mystification developed in modern Europe—which continues to reproduce power structures and to project them onto other cultures and peoples—turning global is a move with a lot of sponsorship, both intellectual and institutional. These different attacks on an art history variously understood as blinkered, racist or Eurocentric have been canonized by art historians and, more importantly, by university administrations. Which is a good thing in lots of ways. Departments are adding full-time positions in areas they had previously left untaught or had relied on adjuncts or other non-tenure-eligible faculty to teach..."