Factors of social class, race, gender, and sexuality are important to any understanding of the social processes of art. Often, art educators discuss these factors in abstract terms, thereby confining discussion in art education to a set of identifiable variables constructed as static, universal, and homogeneous. The particularities of living and working in educational spaces structured along racist, classist, sexist, and homophobic lines remain largely unexplored. Recent scholarship in art education has begun to examine the particularities of these social relations (Garber, 1995; Stuhr, Krug, & Scott, 1995). But the fractures, dangers, and the erasures are not being articulated in ways that highlight the experiences—and the analyses—of those most marginalized by the dominant discourse.
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