This book explores the attribution and local negotiation of cultural valuations of artistic and art-institutional practices around the world, and considers the diverse ways in which these value attributions intersect with claims of universality and cosmopolitanism.

Oscar Salemink is Professor of Anthropology at the University of Copenhagen, Denmark.

Amélia Siegel Corrêa is an independent curator, researcher and a Lecturer in Art History at the Pontificia Universidade Catolica do Parana, Brazil.

Jens Sejrup is Assistant Professor of Japanese Studies at the University of Copenhagen, Denmark with a joint appointment in the Departments of Anthropology and Cross-cultural and Regional Studies.

Vibe Nielsen is affiliated as postdoctoral researcher at the Pitt Rivers Museum, University of Oxford, UK, where she is a Junior Research Fellow at Linacre College.

Introduction: Global Art in Local Art Worlds and the Global Hierarchy of Value-Oscar Salemink; Reflection 1: Going Beyond, notes on cultural valuations and spatial difference-Hou Hanru; Part 1: Tropicalism and canonization; 1 Inhotim, an international tropical museum: Distinction and the canonization of Brazilian Avant-Gardes-Amélia Siegel Corrêa; Reflection 2: The tropics as convention and consecration; Lilia Moritz Schwarcz; Reflection 3: Is there a Global Cannon? Reflections on World Art History-Nora A. Taylor; Part 2: recognition and ambivalence; 2 Ambivalent Art at the Tip of a Continent: the Zeitz MOCAA and its Quest for Global Recognition-Vibe Nielsen; Reflection 4: Recognition-Michael Rowlands; Reflection 5: Ambivalence and the racial politics of value-Deborah Posel; Part 3: Global circulation of ideas and universality; 3 A local universal modernity: World-Heritagizing Le Corbusier's building for the National Museum of Western Art in Tokyo-Jens Sejrup; Reflection 6: The role of public statuary in the global circulation of ideas-Sven Saaler; Reflection 7: Provincializing the universal-Peter Pels; Part 4: Curation and authorization; 4 Curatorship and authorization in Chinese contemporary art institutions-Oscar Salemink; Reflection 8: Curation-Pi Li; Reflection 9: Authorization-Parul Dave Mukherji; Part 5: Validation and circuits of valuation; 5 From Mumbai to London: Co-constituting value in art from India via local and global circuits of valuation-Olga Kanzaki Sooudi; Reflection 10: Validation and the global hierarchy of value: moving in a rugged landscape-João Rickli; Reflection 11: A mandala of value: A granular approach to art valuation across geopolitical fragments-Manuela Ciotti; Part 6: Indigenous art and Indigenous cultural capital; 6: Re-collecting, Re-classifying, Re-ordering: Indigenous Art and the Contemporary Australian Art Field-Tony Bennett; Reflection 12: Indigenous protagonism and its impact on the Brazilian art system-Ilana Seltzer Goldstein; Reflection 13: Indigenous Art: Decolonization through the Looking Glass-Ruth B. Phillips; Afterword: Agency and Hierarchy in the Creation of Aesthetic Value-Michael Herzfeld