This chapter seeks to tell part of the history of "dismantling" by outlining African art history's transformations and florescence during the postwar period, in two distinct yet comparable anglophone settings. First, the United States during the 1960s, with a special focus on teaching, research, and collecting practices on the campus of the University of California, Los Angeles (UCLA); and second, in South Africa, during the period between the last decades of the apartheid regime, in the late 1970s, to the advent of South Africa's first democratic elections in 1994. African art history in the United States continues to bear the imprint of its multiplicitous, hybrid heritage, as well as the associated motivations and priorities of its earliest practitioners. The chapter concludes by outlining some of the thornier, intertwining intellectual and political challenges both African art history and global art history still need to address—and, by implication, the stores of inspiration for transforming and revitalizing the field that still lie ahead.