| Prologue | 1 |
| In the Beginning: Third Text and the Politics of Art | 1 |
| History | 9 |
| Introduction | 11 |
| Contemporary Cultural Practice: Some Polemical Categories | 15 |
| The Latin American Origins of 'Alternative Modernism' | 24 |
| Reverse Appropriation as Nationalism in Modern African Art | 35 |
| Displaying Authenticity and Progress | 47 |
| Colonial/Postcolonial Intersections | 61 |
| Whose Heritage? Un-settling 'The Heritage', Re-imagining the Post-Nation | 72 |
| Representation | 85 |
| Introduction | 87 |
| Discovering the European Wild Men | 91 |
| 'Cowboys and ...' | 101 |
| Ethnicity and Internationality: New British Art and Diaspora-based Blackness | 116 |
| Art as Ethnocide: The Case of Australia | 123 |
| Identity | 133 |
| Introduction | 135 |
| Identity: Reality or Fiction? | 137 |
| Identity and Myth Today | 144 |
| The Voice of a Palestinian in Exile | 151 |
| The Others: Beyond the 'Salvage' Paradigm | 160 |
| Restless Hybrids | 166 |
| Film | 177 |
| Introduction | 179 |
| Dancing with Words and Speaking with Forked Tongues | 181 |
| Walt Disney and the Double Victimization of Pocahontas | 193 |
| Directing the Real: Orapronobis against Philippine Totalitarianism | 203 |
| The Critical Practice and Dialectics of Third Cinema | 211 |
| Post Theory | 227 |
| Introduction | 229 |
| Queries for Postcolonial Studies | 232 |
| Signs of Our Time: Discussion of Homi Bhabha's The Location of Culture | 243 |
| The Failure of Postmodernity: How Africa Misunderstood the West | 255 |
| The Marco Polo Syndrome | 267 |
| Globalization | 275 |
| Introduction | 277 |
| Scene and Obscene | 279 |
| The 'New Asian Museum' in the Age of Globalization | 290 |
| Cybersublime: Representing the Unrepresentable in Digital Art and Politics | 300 |
| Against the Double Blackmail | 309 |
| Obscene from Any Angle | 316 |
| Epilogue | 331 |
| A New Beginning: Beyond Postcolonial Cultural Theory and Identity Politics | 333 |
| Notes | 347 |
| Contributors | 381 |
| List of Illustrations | 385 |
| Index | 387 |
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