Abstract
Art historian Huey Copeland takes on Hortense J. Spillers's and Stephen Best's engagements with his book Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America (2013). In responding to the two essays, Copeland lays out the ideological conditions from which his work emerged, clarifies the book's primary assumptions and interventions, and lays out the future directions of his own work as a mode of reflexive artistic writing. Throughout, he aims to complicate and expand our understanding of what is made possible for critical inquiry in the productive encounter between art history and black studies.
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