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A theory of Indigenous contemporary art remains elusive. This is reflected in its failure, outside of a few countries that are peripheral to the main game, to make a sustaining impression on the main body of artworld discourse. By contrast, in the twenty-first century the contemporaty artworld took notice of African contemporary art. The comparison is telling because throughout the twentieth century African and Indigenous art shared the same fate. Each was forced down similar torturous paths in efforts to overcome the legacy of colonialism-as evident in the Westerncentric pretensions of the 1998 Att Cologne fiasco that banned African and Australian Indigenous art.