Summary: Korsmeyer's account of disgust and the role it plays in art appreciation starts with a treatment of what she calls the "paradox of aversion" - the apparent incompatibility between humans' disposition to seek pleasure and their frequent voluntary exposure to unpleasant and even painful art-related experiences. Korsmeyer's provisional solution to the paradox is based on the realization that pleasure is not an emotion but rather "an intense absorption in an object that induces us to continue rather than halt an experience." This opens the possibility that the pleasure we take from a work of art retains a cognitive element such that we gain unique insight from what would, outside of the art context, have given us pain. Korsmeyer speaks of an "aesthetic conversion" whereby disgust and fear are transfigured into vehicles of absorption, and thus become aesthetically pleasurable. Since disgust and its magnetic force are of material interest to performance artists and their critics, Korsmeyer's treatment of the paradox of aversion helps re-contextualize an important art historical issue.

Summary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.

Summary: Sontag mines the history of philosophical aesthetics and art criticism for the reasons why interpretation has held us under its spell for the last two millennia. One such reason is our insistence on the form/content dichotomy and the vestigial prioritizing of content in the way we talk about art. Another reason is the discursive, and thus political, control that interpretation enables. A third reason is our willingness to sacrifice our unmediated experience of an artwork, and our sensitivity to an artist's intentions, for the sake of interpretative success. To counter these "reactionary, impertinent, cowardly, stifling" tendencies, Sontag proposes an "erotics of art" - a new emphasis on transparence, which favors description and appreciation over interpretation. This critical ethos does not only change the terms of conceptual engagement; it also opens the gates for creative approaches to art which explicitly challenge vestigial modes of meaning-making and meaning extraction. Even though Sontag does not specifically single any of these approaches out, performance art is arguably the most extreme of the potential candidates.

Abstract: In this chapter we explore two important questions that we believe should be central to any discussion of the ethics and politics of cultural heritage: What are the harms associated with appropriation and commodification, specifically where the heritage of Indigenous peoples is concerned? And how can these harms best be avoided? Archaeological concerns animate this discussion; we are ultimately concerned with fostering postcolonial archaeological practices. But we situate these questions in a broader context, addressing them as they arise in connection with the appropriation of Indigenous cultural heritage, both past and present.

Summary: Korsmeyer argues that although genuineness (or authenticity) is not a perceptual property, it is still an aesthetically relevant property for cultural artifacts, an argument that she locates in the relationship between age and the sense of touch. She thus offers a potential explanation for a common ntuition about the nature and value of authenticity in the Western tradition.

Summary: Eaton and Gaskell argue that museums are "instruments of power," and then ask whether it is permissible for them to display the cultural heritage of peoples who have been subordinated. Ultimately, they argue that despite a series of arguments to the contrary, the display of "subaltern" artifacts is not just permissible, "but advantageous to all interested parties." They make the argument by posing and responding to four central objections to this position.

Summary: In this article, Crane, a historian, questions whether Holocaust atrocity photographs should be displayed, arguing that displaying them is not the best means of historical education about the horrors of the Holocaust, as some defenders argue. Her discussion includes reflections on the nature of photography, spectacle, how we look at images, and pedagogy surrounding historical injustices.

Summary: Saito examines arguments concerning why artworks should be restored, which are couched in terms of a debate between "purist" and "integral/conservator" restoration. Purists believe artworks should only be cleaned, emphasizing the integrity of the material object, whereas integral restorationists are open to adding material to the work, emphasizing the integrity of the original aesthetic experience. Rather than embracing a particular side in this debate, Saito's discussion reveals how cultural/historical considerations can be as important to the debate over restoration as aesthetic considerations.

Abstract: The West has created categories of property, including intellectual property, which divides peoples and things according to the same colonizing discourses of possessive individualism that historically disentitled and disenfranchised Native peoples in North America. These categories are often presented as one or both of neutral and natural, and often racialized. The commodification and removal of land from people’s social relations which inform Western valuations of cultural value and human beings living in communities represents only one particular, partial way of categorizing the world. Legal and cultural manifestations of authorship, culture, and property are contingent upon Enlightenment and Romantic notions built upon a colonial foundation. I will argue that the law rips apart what First Nations peoples view as integrally and relationally joined, but traditional Western understandings of culture, identity, and property are provoked, challenged, and undermined by the concept of Aboriginal Title in a fashion that is both necessary and long overdue.

Summary: Coleman argues for an ontological understanding of Australian Aboriginal artworks (namely, that they function as insignia that require authoritative endorsement) that can resolve disputes about the authenticity of controversial cases of Aboriginal art. More broadly, her article illuminates the ways in which viewing art as part of a cultural heritage can affect how we understand its authenticity.