All translations, unless otherwise noted, are mine.
1 Njami, ‘‘A Useful Dream,’’ 4.
2 Diagne, ‘‘Now Is the Time,’’ 2.
3 Enwezor, introduction to The Short Century, 10.
4 Ibid.
5 See Pollack, ‘‘The Newest Avant-Garde,’’ 124.
6 Cotter, ‘‘Beyond Multiculturalism, Freedom,’’ 28.
7 Ibid.
8 Hassan and Oguibe, Authentic/Ex-centric.
9 Jules-Rosette, ‘‘First Word,’’ 1.
10 Fall, ‘‘Myth, Memory, and Concept,’’ 110.
11 Konaté, ‘‘African Artists from Africa,’’ 142.
1 O’Brien, ‘‘Saint Mor Faye.’’
2 Spivak, ‘‘Three Women’s Texts,’’ 262.
3 The salvage paradigms which seek to rescue pure products of an earlier, precapitalis
non-Western age underlie the categorizations of traditionality and authenticity in th
market for African arts and provide familiar structures for exhibition projects and m
seum collecting.
4 Danto, After the End of Art.
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