The critical tools acquired from postcolonial and postmodernist discourses — coupled with the growing interest in and studies of the global contemporary art market — have enabled critics, scholars, and curators to broaden historical understandings of the modern. This seminar will address Said’s discussions of the "voyages in" of exiles in interwar and postwar modern Europe, Stuart Hall's subtle readings of the visual cultures and identities in postwar Britain, and Kobena Mercer's ongoing projects on the overlapping, imbricated nature of modernist practices, alongside new thinking on cosmopolitanisms by Kristeva, Benhabib, and Clifford. These important approaches in the EuroAmerican sphere run parallel to ever-deepening studies of locally situated, often nationally focused but globally conscious artistic scenes around the world (often misnamed alternative modernities), including work by Geeta Kapur and Partha Mitter on India, Okwui Enwezor and Chika Okeke on parts of the African continent, and Gerardo Mosquera and Guy Brett on sites in Latin America. This course broadens an ever deepening interest in the global implications of the modern, in a department that features a growing number of scholars with interest and expertise in global modern and contemporary visual cultures and art histories. It will enable graduate students to gain greater insight into current debates on contemporary uses of cosmopolitanism in light of historical models and understandings of the modern.