ABSTRACT
The challenge for non-Western and Third World art historians today is to abandon the place of the victim and the Other, which the multiculturalist liberal agenda has engineered, and to critically engage in the study of the basic tenets and history of Western art history and epistemology. Globalization will make sense only if it means that art historians from the entire world will have a say in the definition of the epistemological foundations and methodologies that hegemonically define not only the canon but also the theoretical approach and even the structural organization of the discipline.
