Since the late nineteenth century the conceptual and disciplinary frames of reference imposed upon non-European art have undergone a continual process of negotiation, transfiguration, and contestation. Indeed, artists, art critics, and art historians all over the world have challenged the categories of art that were created in European metropolises for the academic disciplines of art history and anthropology. Focusing on the themes of narrative, concept, and practice, this volume brings together fourteen essays that trace the complexities of this process during the twentieth and twentyfirst centuries. These essays explore how epistemic paradigms as well as “travelling” objects, cultural agents, and institutions set a number of transcultural negotiations into motion. By examining key cultural identities and concepts, including perceptions of the avant-garde and modernity as well as concomitant notions of authenticity and originality, they analyse the dynamics that make up artistic production and discourses on art.