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What does the decolonization of our artistic, teaching, and curatorial practices actually look like? What steps are necessary to transform these positionalities into vectors for affective, activist, and dematerial art practices that undermine imperialist capitalism and the colonial origins of the museum and university? How do we create pathways into higher education that don’t saddle subsequent generations with untenable debt? And how do these questions point to systemic problems and potentialities within the greater ecology of our respective fields?

This panel resolves to share models and foster evolution so that the concepts, language, and methods required to perform anti-oppression work may flourish. Embodying the urgent need for decolonial practice, this interdisciplinary panel reports back on ways we have intervened and affected change as art historians, artists, curators, and educators working within the oppressive structures of higher education and exhibition production. This panel will highlight specific instances of interventions that yielded decolonial outcomes resulting from an audit of our positions within our fields of practice, a dismantling of our biases and practices of collusion, and our (re)orientation toward practices that interfere with the paradigm that privileges hegemonic positions by default.