ABSTRACT
My life as a painter was upended when I had a massive stroke at age 44, leaving me paralyzed on the right side of my body. Not only did the stroke require me to make technical adjustments and subsequently redefine my art practice, it also fueled a further examination of art history and how artists with disabilities fit into (and outside of) that narrative. A critical examination of how the art historical canon operates to exclude or silence artists with disabilities, as well as a probing into which kinds of collective action work most productively bring artists in from the margins, has manifested in both my teaching and social practices. This chapter will shed light on both.
