Abstract
Proposing Bakhtin’s dialogical principle as a guiding light for cross-cultural studies in art historical research on the diasporic formation of Afro-modernism, Kobena Mercer’s discussion essay highlights the value of his postformalist outlook as he responds to commentaries by Eddie Chambers and Huey Copeland on his edited series Annotating Art’s Histories. Examining interactions among artists, artworks, and artworlds as a dialogical circuit facilitates close attention to art’s aesthetic agency without the pitfalls of biographical reduction to identity or sociological reduction to context.
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