1. René Magritte. La Trahison des images (Ceci n’est pas une pipe) (The Treason of Images) 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) 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]

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

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

4. Lorna Simpson. The Park 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 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]

5. Shirin Neshat. Rebellious Silence, from the series Women of Allah 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 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]

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

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]
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]

8. Albert Bierstadt. The Rocky Mountains, Lander’s Peak. 1863
Albert Bierstadt. The Rocky Mountains, Lander’s Peak 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 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]

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

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

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

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

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

14. Cliffor Possum Tjapaltjarri. Man’s Love Story. 1978
Cliffor Possum Tjapaltjarri. Man’s Love Story 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, Aboriginal Artists Agency. [Fig. 2-14]
Cliffor Possum Tjapaltjarri. Man’s Love Story 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, Aboriginal Artists Agency. [Fig. 2-14]

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

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

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]
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]

18. 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]

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 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 Giraudon/Art Resource, NY. [Fig. 2-19]

20. 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]

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

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

23. Jean-Michel Basquiat. Charles the First. 1982
Jean-Michel Basquiat. Charles the First 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 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]

24. John Taylor. Treaty Signing at Medicine Creek Lodge, 1867. 1966
John Taylor. Treaty Signing at Medicine Creek Lodge, 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, [Fig. 2-24]
John Taylor. Treaty Signing at Medicine Creek Lodge, 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, [Fig. 2-24]

25. 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]