René Magritte. La Trahison des images (Ceci n’est pas une pipe) (The Treason of Images). 1929. Oil on canvas. 21-1/2 ✕ 28-1/2 in. Banque d'Images, ADAGP / Art Resource, NY. © 2012 C. Herscovici, London/Artists Rights Society (ARS), NY. Location: Los Angeles County Museum of Art, Los Angeles, CA. [Fig. 2-1] René Magritte. La Trahison des images (Ceci n’est pas une pipe) (The Treason of Images). 1929. Oil on canvas. 21-1/2 ✕ 28-1/2 in. Banque d'Images, ADAGP / Art Resource, NY. © 2012 C. Herscovici, London/Artists Rights Society (ARS), NY. Location: Los Angeles County Museum of Art, Los Angeles, CA. [Fig. 2-1]

Lorna Simpson. She. 1992. Photographs, four dye-diffusion transfers (Polaroids) and plaque. 29 × 85-1/4 in. Museum of Fine Arts, Boston. Ellen Kelleran Gardner Fund. 1992.204a-e. Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 2-2] Lorna Simpson. She. 1992. Photographs, four dye-diffusion transfers (Polaroids) and plaque. 29 × 85-1/4 in. Museum of Fine Arts, Boston. Ellen Kelleran Gardner Fund. 1992.204a-e. Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 2-2]

Lorna Simpson. Necklines. 1989 Lorna Simpson. Necklines. 1989. Three silver prints, two plastic plaques. 68-1/2 × 70 in. © Lorna Simpson. Courtesy of the artist and Salon94. [Fig. 2-3] Lorna Simpson. Necklines. 1989. Three silver prints, two plastic plaques. 68-1/2 × 70 in. © Lorna Simpson. Courtesy of the artist and Salon94. [Fig. 2-3]

Lorna Simpson. The Park. 1995. Edition of 3, serigraph on 6 felt panels with felt text panel (not shown). 67 × 67-1/2 in overall. © Lorna Simpson. Courtesy of the artist and Salon94. [Fig. 2-4] Lorna Simpson. The Park. 1995. Edition of 3, serigraph on 6 felt panels with felt text panel (not shown). 67 × 67-1/2 in overall. © Lorna Simpson. Courtesy of the artist and Salon94. [Fig. 2-4]

Shirin Neshat. Rebellious Silence, from the series Women of Allah. 1994. Gelatin silver print and ink. 11 × 14 in. Photo: Cynthia Preston. © Shirin Neshat, courtesy the artist and Gladstone Gallery, New York and Brussels. [Fig. 2-5] Shirin Neshat. Rebellious Silence, from the series Women of Allah. 1994. Gelatin silver print and ink. 11 × 14 in. Photo: Cynthia Preston. © Shirin Neshat, courtesy the artist and Gladstone Gallery, New York and Brussels. [Fig. 2-5]

Triumphal Entry (page from a manuscript of the Shahnamah of Firdawsi), Persian, Safavid culture. 1562–1583. Opaque watercolor, ink, and gold on paper. 18-11/16 × 13 in. Museum of Fine Arts, Boston. Francis Bartlett Donation of 1912 and Picture Fund. 14.692. Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 2-6] Triumphal Entry (page from a manuscript of the Shahnamah of Firdawsi), Persian, Safavid culture. 1562–1583. Opaque watercolor, ink, and gold on paper. 18-11/16 × 13 in. Museum of Fine Arts, Boston. Francis Bartlett Donation of 1912 and Picture Fund. 14.692. Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 2-6]

Nezami. Page from a copy of Nezami’s Khamseh (the “Quintet”) illustrating a princely country feast, Persian, Safavid culture. 1574–75. Illuminated manuscript. 9-3/4 × 6 in. © British Library Board IO Islamic 1129 (Ethe 982), f.29. [Fig. 2-7] Nezami. Page from a copy of Nezami’s Khamseh (the “Quintet”) illustrating a princely country feast, Persian, Safavid culture. 1574–75. Illuminated manuscript. 9-3/4 × 6 in. © British Library Board IO Islamic 1129 (Ethe 982), f.29. [Fig. 2-7]

Albert Bierstadt. The Rocky Mountains, Lander’s Peak. 1863 Albert Bierstadt. The Rocky Mountains, Lander’s Peak. 1863. Oil on canvas. 73-1/2 × 120-3/4 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, Rogers Fund, 1907 (07.123). [Fig. 2-8] Albert Bierstadt. The Rocky Mountains, Lander’s Peak. 1863. Oil on canvas. 73-1/2 × 120-3/4 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, Rogers Fund, 1907 (07.123). [Fig. 2-8]

George Green. ...marooned in dreaming: a path of song and mind, in progress (1 of 3). 2011. Top: Raw birch ground before painting. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-9] George Green. ...marooned in dreaming: a path of song and mind, in progress (1 of 3). 2011. Top: Raw birch ground before painting. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-9]

George Green. ...marooned in dreaming: a path of song and mind, in progress (2 of 3). 2011. Middle: Second stage, painted frame and mat. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-10] George Green. ...marooned in dreaming: a path of song and mind, in progress (2 of 3). 2011. Middle: Second stage, painted frame and mat. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-10]

George Green. ...marooned in dreaming: a path of song and mind, in progress (3 of 3). 2011. Third stage, painted frame and seascape. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-11] George Green. ...marooned in dreaming: a path of song and mind, in progress (3 of 3). 2011. Third stage, painted frame and seascape. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-11]

George Green. marooned in dreaming: a path of song and mind. 2011 George Green. ...marooned in dreaming: a path of song and mind. 2011. Acrylic on birch. 48 × 80 in. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-12] George Green. ...marooned in dreaming: a path of song and mind. 2011. Acrylic on birch. 48 × 80 in. Photo by Aaron Johanson. Courtesy of the artist. [Fig. 2-12]

Wolf Kahn. Afterglow I. 1974. Oil on canvas. 42 × 66 in Wolf Kahn. Afterglow I. 1974. Oil on canvas. 42 × 66 in. Whitney Museum of American Art, NY. Courtesy of the artist. [Fig. 2-13] Wolf Kahn. Afterglow I. 1974. Oil on canvas. 42 × 66 in. Whitney Museum of American Art, NY. Courtesy of the artist. [Fig. 2-13]

Cliffor Possum Tjapaltjarri. Man’s Love Story. 1978 Cliffor Possum Tjapaltjarri. Man’s Love Story. 1978. Synthetic polymer paint on canvas. 6 ft. 11-3/4 in. × 8 ft. 4-1/4 in. Art Gallery of South Australia, Adelaide. Visual Arts Board of the Australia Council Contemporary Art Purchase Grant, 1980. Aboriginal Artists Agency. [Fig. 2-14] Cliffor Possum Tjapaltjarri. Man’s Love Story. 1978. Synthetic polymer paint on canvas. 6 ft. 11-3/4 in. × 8 ft. 4-1/4 in. Art Gallery of South Australia, Adelaide. Visual Arts Board of the Australia Council Contemporary Art Purchase Grant, 1980. Aboriginal Artists Agency. [Fig. 2-14]

Kazimir Malevich. Black Square. ca. 1923-30. Oil on plaster Kazimir Malevich. Black Square. ca. 1923-30. Oil on plaster. 14-1/2 × 14-1/2 in. CNAC/MNAM/Dist. Réunion des Musées Nationaux / Art Resource, NY. [Fig. 2-15] Kazimir Malevich. Black Square. ca. 1923-30. Oil on plaster. 14-1/2 × 14-1/2 in. CNAC/MNAM/Dist. Réunion des Musées Nationaux / Art Resource, NY. [Fig. 2-15]

Beatriz Milhazes. Carambola. 2008. Acrylic on canvas Beatriz Milhazes. Carambola. 2008. Acrylic on canvas. 54-7/8 × 50-5/8 in. Courtesy James Cohan Gallery, New York. Photo: Jason Mandella. [Fig. 2-16] Beatriz Milhazes. Carambola. 2008. Acrylic on canvas. 54-7/8 × 50-5/8 in. Courtesy James Cohan Gallery, New York. Photo: Jason Mandella. [Fig. 2-16]

Apollo Belvedere (detail), Roman copy after a fourth-century BCE Greek original. 4th century BCE. height of entire sculpture 7 ft. 4 in. Alinari/Art Resource, N.Y. [Fig. 2-17] Apollo Belvedere (detail), Roman copy after a fourth-century BCE Greek original. 4th century BCE. height of entire sculpture 7 ft. 4 in. Alinari/Art Resource, N.Y. [Fig. 2-17]

Sang tribe, Gabon, West Africa. Fang: Reliquary Guardian Head (mask) Sang tribe, Gabon, West Africa. Fang: Reliquary Guardian Head (mask). 19th century. Wood, egg, and dust (coating). O.1948.SC.236. The Samuel Courtauld Trust, The Courtauld Gallery, London. [Fig. 2-18] Sang tribe, Gabon, West Africa. Fang: Reliquary Guardian Head (mask). 19th century. Wood, egg, and dust (coating). O.1948.SC.236. The Samuel Courtauld Trust, The Courtauld Gallery, London. [Fig. 2-18]

Lower six panels of the center lancet window in the west front of Chartres Cathedral, showing the Nativity, Annunciation to the Shepherds, and the Adoration of the Magi. c. 1150. Giraudon/Art Resource, NY. [Fig. 2-19] Lower six panels of the center lancet window in the west front of Chartres Cathedral, showing the Nativity, Annunciation to the Shepherds, and the Adoration of the Magi. c. 1150. Giraudon/Art Resource, NY. [Fig. 2-19]

Amitabha Budda (Amida), the Buddha of Infinite Light Amitabha Budda (Amida), the Buddha of Infinite Light. Kamakura period, Japan, 13th century. Gilt bronze. height overall 18-3/4 in. Freer Gallery of Art, Smithsonian Institution, Washington, D.C.: Purchase, F1971.4a-b. [Fig. 2-20] Amitabha Budda (Amida), the Buddha of Infinite Light. Kamakura period, Japan, 13th century. Gilt bronze. height overall 18-3/4 in. Freer Gallery of Art, Smithsonian Institution, Washington, D.C.: Purchase, F1971.4a-b. [Fig. 2-20]

Jan van Eyck. Giovanni Arnolfini and His Wife Giovanna Cenami. c. 1434 Jan van Eyck. Giovanni Arnolfini and His Wife Giovanna Cenami. c. 1434. Oil on oak panel. 32-1/4 × 23-1/2 in. © National Gallery, London / Art Resource, NY. [Fig. 2-21] Jan van Eyck. Giovanni Arnolfini and His Wife Giovanna Cenami. c. 1434. Oil on oak panel. 32-1/4 × 23-1/2 in. © National Gallery, London / Art Resource, NY. [Fig. 2-21]

Jan van Eyck. Giovanni Arnolfini and His Wife Giovanna Cenami (detail) Jan van Eyck. Giovanni Arnolfini and His Wife Giovanna Cenami (detail). c. 1434. Oil on oak panel. 32-1/4 × 23-1/2 in. National Gallery, London, UK / The Bridgeman Art Library. [Fig. 2-22] Jan van Eyck. Giovanni Arnolfini and His Wife Giovanna Cenami (detail). c. 1434. Oil on oak panel. 32-1/4 × 23-1/2 in. National Gallery, London, UK / The Bridgeman Art Library. [Fig. 2-22]

Jean-Michel Basquiat. Charles the First. 1982 Jean-Michel Basquiat. Charles the First. 1982. Acrylic and oil paintstick on canvas, three panels. 78 × 62-1/4 in. overall. © 2012 The Estate of Jean-Michel Basquiat/ADAGP, Paris/ARS, New York. [Fig. 2-23] Jean-Michel Basquiat. Charles the First. 1982. Acrylic and oil paintstick on canvas, three panels. 78 × 62-1/4 in. overall. © 2012 The Estate of Jean-Michel Basquiat/ADAGP, Paris/ARS, New York. [Fig. 2-23]

John Taylor. Treaty Signing at Medicine Creek Lodge, 1867. 1966 John Taylor. Treaty Signing at Medicine Creek Lodge, 1867. 1966. Line drawing. Drawing for "Leslie's Illustrated Gazette," September-December. 1867, as seen in Douglas C. Jones, "The Treaty of Medicine Lodge," page xx, Oklahoma University Press, 1966. [Fig. 2-24] John Taylor. Treaty Signing at Medicine Creek Lodge, 1867. 1966. Line drawing. Drawing for "Leslie's Illustrated Gazette," September-December. 1867, as seen in Douglas C. Jones, "The Treaty of Medicine Lodge," page xx, Oklahoma University Press, 1966. [Fig. 2-24]

Howling Wolf. Treaty Signing at Medicine Creek Lodge. 1875–1878 Howling Wolf. Treaty Signing at Medicine Creek Lodge. 1875–1878. Ledger drawing, pencil, crayon, and ink on paper. 8 × 11 in. Courtesy of the New York State Library, Manuscripts and Special Collections, Albany, New York. [Fig. 2-25] Howling Wolf. Treaty Signing at Medicine Creek Lodge. 1875–1878. Ledger drawing, pencil, crayon, and ink on paper. 8 × 11 in. Courtesy of the New York State Library, Manuscripts and Special Collections, Albany, New York. [Fig. 2-25]