ABSTRACT
The reservations one might have concerning a globalized art history are readily apparent. Their common denominator is the fear that today, in the era of a politically aggressive globalization, discourse a discipline oriented in this way will be universalistic in the worst sense, so that it could not sufficiently do justice to the differences between the varied forms of artistic and humanistic achievements, and would be — even against the intentions of its advocates — a form of more or less hidden Eurocentrism, or more precisely a centrism of Western cultures, and therefore a form of cultural imperialism.
