What Comes after World Art?

A ‘worlded’ art history conceives of the global as constituted from multiple and entangled geocultural perspectives, not centered on assumed commonalities of ‘global’ art. One of the few occasions when the discipline of art history is conventionally conceptualized as a whole is at the introductory level, where untenable narratives and nomenclatures inherited from nineteenth-century European art historians are continuously replicated. (How) can a ‘worlded’ introductory course avoid the problems of taxonomy in conventional schemes organized according to canons of monuments, period and national styles, a linear timeline focused on European events, and all the other headaches associated with West-and-the-Rest thinking?