In recent years, the rallying cry to ‘decolonise art history’ has become a mainstay of critical debates in the academy, public institutions, and on social media; calling attention to the need to acknowledge unspoken biases rooted in the legacies of imperialism, interrogate the discipline’s exclusionary mechanisms of power, and to give voice to previously marginalised or even silenced subjectivities – to finally hear ‘the subaltern speak’ and for such speech to transform our existing apparatuses of knowledge production and dissemination.1¹ Although these issues have been articulated by scholars, artists, and curators (usually hailing from the ‘Global South’) for decades, the strident vocalisation and amplification of these concerns at this present moment is telling. The ongoing saga of the UK Brexit referendum, the Trump administration, fears of mass migration and cross-border movements, and most recently, the Covid-19 global pandemic, has fomented a chorus of xenophobic, nationalistic, and jingoistic invectives that have dominated public discourses across the world. Yet, the coterminous proliferation of grassroots movements like #MeToo, #IamNotaVirus, #BlackLivesMatter and #ICantBreathe have emphasized the urgent need to call out systemic forms of discrimination and social injustice, and to speak out against the myriad, pervasive, and suffocating forms of racial, sexual, gendered, and environmental violence that have gone unseen and unheard for much too long.

中文翻译：

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简介：语音为形式

近年来，“非殖民化艺术史”的集会呼声已经成为学院，公共机构和社交媒体中重要辩论的中流;柱。提请注意需要承认根深蒂固的帝国主义根源的无言以对的偏见，审问该学科的排他性权力机制，并为先前被边缘化或什至沉默的主观性发出声音-最终听到“次要说话”，并使这种话语转变我们现有的知识生产和传播设备^{。1 1}尽管这些问题已经由学者，艺术家和策展人（通常来自“全球南方”）表达了数十年，但目前这些问题的尖锐发声和放大正在说明。英国脱欧公投，特朗普政府，民众对大规模移民和跨境运动的担忧以及最近发生的Covid-19全球大流行的持续传说引发了一系列仇外，民族主义和非政府主义的煽动性言论，这些言论主导了公众世界各地的话语。然而，像＃MeToo，＃IamNotaVirus，＃BlackLivesMatter和#ICantBreathe这样的基层运动的共同扩散强调了迫切需要指出系统性的歧视和社会不公，并反对无数，无处不在和令人窒息的形式。种族，性，性别，