Armstrong, Nancy. The Violence of Representation: Literature and the History of Violence. London: Routledge, 1989.
Boehmer, Elleke. “Edward Said and (the Postcolonial Occlusion Of) Gender.” Edward Said and the Literary, Social, and Political World, edited by Ranjan Ghosh, 124- 136. New York: Routledge, 2009.
Boehmer, Elleke. Stories of Women: Gender and Narrative in the Postcolonial Nation. Manchester: Manchester UP, 2005.
Burney, Shehla. Pedagogy of the Other: Edward Said, Postcolonial Theory, and Strategies for Critique. New York: Peter Lang, 2012.
Derrida, Jacques. Of Grammatology. Baltimore: John Hopkins University Press, 1974.
Eileraas, Karina. “Reframing the Colonial Gaze: Photography, Ownership, and Feminist Resistance.” MLN 118: 807-840.
Bhabha, Homi. “DissemiNation: Time, Narrative and the Margins of the Modern Nation .” In The Blackwell Reader in Contemporary Social Theory, edited by Elliot Anthony. Malden, Mass.: Blackwell, 1999.
Radhakrishnan, R. A Said Dictionary. Chichester, West Sussex: Wiley-Blackwell, 2012.
Said, Edward W. Orientalism. New York: Vintage, 1979.
Berger, Maurice. “Interview with Adrian Piper.” In Art, Activism, and Oppositionality: Essays from Afterimage, edited by Grant H. Kester, 215-231. Durham: Duke University Press, 1998.
Blocker, Jane. Where Is Ana Mendieta?: Identity, Performativity, and Exile. Durham: Duke University Press, 1999.
Hooks, Bell. “Naked Without Shame: A Counter-Hegemonic Body Politic.” In Talking Visions: Multicultural Feminism in a Transnational Age, edited by Ella Shohat, 65-73. Cambridge, MA: MIT Press, 1998.
Lamm, Kimberley. “Portraits of the Past, Imagined Now: Reading the Work of Carrie Mae Weems and Lorna Simpson.” In Unmaking Race, Remaking Soul: Transformative Aesthetics and the Practice of Freedom, edited by Christa Davis Acampora and Angela L. Cotton, 103-40. Albany: State University of New York, 2007.
O’Grady, Lorraine. “Olympia’s Maid: Reclaiming Black Female Subjectivity.” In Art, Activism, and Oppositionality: Essays from Afterimage, edited by Grant H. Kester, 268-286. Durham: Duke University Press, 1998.
Piper, Adrian. Parlando a Me Stessa: L’autobiografia Progressiva di un Oggetto D’arte = Talking to Myself: The Ongoing Autobiography of an Art Object. Bari: M. Bonomo, 1975.
Piper, Adrian. Adrian Piper, Reflections, 1967-1987. Ed. Jane Farver. New York: Alternative Museum, 1987.
Piper, Adrian. Out of Order, Out of Sight: Selected Writings, Vol. 2. Cambridge, MA: MIT Press, 1996.
Walker, Kara. “Mickalene Thomas.” BOMB Magazine, Spring 2009. http://bombmagazine.org/article/3269/.
Descriptive Labels
Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza.San Francisco: Aunt Lute Books, 2007.
Bell, Lynda S. One Industry, Two Chinas: Silk Filatures and Peasant-Family Production in Wuxi County, 1865-1937. Stanford: Stanford University Press, 1999.
Blanchard, Pascal, Nicolas Bancel, Gilles Boëtsch, Eric Deroo, Sandrine Lemaire, and Charles Forsdick, eds. Human Zoos: Science and Spectacle in the Age of Colonial Empires. Liverpool: Liverpool University Press, 2008.
Brielmaier, Isolde. “Re-Inventing The Spaces Within: The Images of Lalla Essaydi.” Aperture, Spring 2005: 20-25.
Cheng, Dewitt. “Dotty Attie: Sometimes a Traveler/There Lived in Egypt.” http://www.metroactive.com/arts/dotty-attie-cantor-arts-center.html.
Corbey, Raymond. “Ethnographic Showcases, 1870-1930.” Cultural Anthropology 8, no. 3 (1993): 338-369.
Gaspar de Alba, Alicia, and Alma López, eds. Our Lady of Controversy: Alma López’s Irreverent Apparition. Austin: University of Texas Press, 2011.
Li, Lillian M. China’s Silk Trade: Traditional Industry in the Modern World 1842-1937. Cambridge: Harvard University Press, 1981.
Matt, Gerald. “Shirin Neshat, Soliloquy (1999).” Soliloquy. http://www.walkerart.org/collections/artworks/soliloquy. Walker Art Center, 2000.
Oliver, Valerie Cassel, ed. Double Consciousness: Black Conceptual Art Since 1970. Houston: Contemporary Arts Museum, 2005.
Qureshi, Nusra Latif, and Anna Sloan. “The Way I Remember Them”: Paintings by Nusra Latif Qureshi. Northampton: Smith College Museum of Art, 2002.
Serna, Cristina. “It’s Not About the Virgins in My Life, It’s About the Life in My Virgins.” In Our Lady of Controversy: Alma López’s Irreverent Apparition, edited by Alicia Gaspar de Alba and Alma López, 165-194. Austin: University of Texas Press, 2011.
Surage, Chloe. “Art and la Virgen de Guadalupe: Towards Social Transformation.” Senior thesis, University of Colorado, Boulder, 2011.
Tremblay, G. Jaune Quick-to-See Smith: Flathead Contemporary Artist. www.missoulaartmuseum.org/files/documents/collection/montana%20connections_smith/tremblayessay.pdf
Further Reading
Fusco, Coco, ed. Only Skin Deep: Changing Visions of the American Self. New York: International Center of Photography in association with Harry N. Abrams, 2003.
Hunt, Tamara L., and Micheline R. Lessard, eds. Women and the Colonial Gaze. New York: New York University Press, 2002.
Knafo, Danielle. In Her Own Image: Women’s Self-Representation in Twentieth-Century Art. Madison: Fairleigh Dickinson University Press, 2009.
Krauss, Rosalind E. The Optical Unconscious. Cambridge, Mass.: MIT Press, 1993.
Lewis, Reina, and Sara Mills, eds. Feminist Postcolonial Theory: A Reader. New York: Routledge, 2003.
Mills, Charles W. The Racial Contract. Ithaca: Cornell UP, 1997.
Pollock, Griselda. Avant-garde Gambits: 1888-1893: Gender and the Colour of Art History. London: Thames and Hudson, 1992.