Art historians have become increasingly reflective about the nature of their discipline, perhaps prompted by the way the discipline seems to be expanding and dispersing. One way of responding to the challenge of this dispersion is to retrench, to police the borders where art history apparently exceeds its proper domain, and to find a determinate definition of Art History’s objects and methodologies. Another response, the one pursued in this volume, is to engage debate precisely at those points where the boundaries are opening up. One such point, called “art theory,” amounts to a give and take between art history and philosophy. This overlap does, of course, have a traditional and central role in the founding of the discipline by Riegl, Wölfflin,Warburg, Panofsky, and those other German speaking scholars whom Michael Podro called the critical historians of art. [download]
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