| vii | | Mariët Westermann, Introduction: The Objects of Art History and Anthropology
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| 3 | | David Freedberg, Warburg's Mask: A Study in Idolatry
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| 26 | | Francesco Pellizzi, On the Margins of Recorded History: Anthropology and Primitivism
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| 41 | | Hans Belting, Toward an Anthropology of the Image
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| 59 | | Ikem Stanley Okoye, Linger or Flee? Pieter Aertsen, "Iguegha Uhe," Michel Leiris
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| 89 | | Suzanne Preston Blier, Trancending Places: A Hybrid, Multiplex Approach to Visual Culture
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| 111 | | Jonathan Hay, The Functions of Chinese Painting: Toward a Unified Field Theory
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| 124 | | Howard Morphy, Seeing Indigenous Australian Art
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| 143 | | Sarah Brett-Smith, The Knowledge of Women
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| 164 | | Steve Bourget, But Is it Art? The Complex Roles of Images in Moche Culture, an Ancient Andean Society of the Peruvian North Coast
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| 178 | | Janet Catherine Berlo, Anthropologies and Histories of Art: A View from the Terrain of Native North American Art History
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| 195 | | Anna Grimshaw, Reconfiguring the Grounf: Art and the Visualization of Anthropology
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| 221 | | Shelly Errington, History Now: Post-Tribal Art
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| 242 | | Ruth B. Phillips, The Value of Disciplinary Difference: Reflections on Art History and Anthropology at the Beginning of the Twenty-First Century
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