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This monograph sets out to write new transnational South Asian art histories - to make visible histories of artworks that remain marginalised within the discipline of art history. However, this is done through a deliberate 'productive failure' - specifically, by not upholding the strictly genealogical approach that is regularly assumed for South Asian art histories. For instance, one chapter explores the abstract work of Cy Twombly and Natvar Bhavsar. I also examine 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history. As the book progresses, art historical 'writing' includes a range of practice-led forms, such as curating exhibitions or my affective engagement with visual culture. Overall, I suggest methods for generating art history that acknowledge the complex web of factors within which art history is produced and the different forms of knowledge-production we might count as art history.

Queer theory. --- Homosexuality and art. --- Art --- Art and race. --- Art. --- Art and homosexuality --- Gender identity --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Race and art --- Ethnopsychology --- Historiography. --- History. --- South Asia. --- Asia, South --- Asia, Southern --- Indian Sub-continent --- Indian Subcontinent --- Southern Asia --- Orient --- Art, Primitive --- Art, Daghestan --- Asia --- Adrian Margaret Smith Piper. --- Anish Kapoor. --- Curry Mile. --- Cy Twombly. --- Kehinde Wiley. --- Mario Pfeifer. --- Natvar Bhavsar. --- South Asian art histories. --- South Asian women. --- Stephen Dean. --- belongingness. --- productive failure. --- queer feminism. --- queer zen. --- transnational art histories.