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Epilogue Border art—whether the U.S.-Mexico border, Puerto Rico, or beyond—opens up another means to categorize art and, ultimately, art historical inquiry. There is enormous potential in thinking of art in terms of change rather than as objects. Even when socially motivated artists generate an aesthetic product—such as Allora and Calzadilla’s photographs, the BAW/TAF’s performance videos and installations, or even Téllez’s cannonball —the object is only part of the whole. It is not that the physical product ceases to matter, but that it coexists with the post-autonomous. The challenge this book hopes to pose is to consider the intangible aspects of the project as carefully as the visual record. What could happen if we were to bring border art, as well as my reimagining of Mignolo’s “border thinking,” to the study of art and society? How can studying the U.S.-Mexico border, the literal margin of the U.S. art world, bring about a reevaluation of mainstream art and culture? I would argue that these ideas carry into a larger, global context—that, in addition to providing a new dimension to the study of American art, the study of border art has tremendous implications for the study of the relationship between the United States/Europe and Latin America. Examining the historical development of border art allows for a theoretical examination of art historiography as a discipline that constructs itself by setting up borders.Whether geographical or temporal, clear dividing lines exist between movements and cultures; art history is still defined by this logic. This book has attempted to show that, beyond the study of the United States and Mexico, the study of “border art” can be used to rethink art history from its borders. In essence, the “borders” of art history are the points at which different geographical, temporal, and cultural spaces meet, resulting in art that takes on a hybrid form. By studying these hybrids, from contemporary border art production to other instances of Sheren pages.indd 135 4/21/15 3:22 PM 136 | portable borders intercultural contact—mudejar architecture in Spain, for example—the idea of borders can be used to rethink more traditional periods of art history . Rather than attempting to erase those boundaries, this line of thinking has the potential to allow for a complete reinvention of the traditional narratives of art history. Sheren pages.indd 136 4/21/15 3:22 PM ...


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