This course looks closely at a fundamental concern for artists today: frameworks of visibility. These include: the gallery; the racialized body; social media platforms; class; gender; the historical legacy of abstraction; heteronormativity; whiteness; and political forms of emotion and memory. They are the sites that control, what, who, and how things are seen.   This course tackles a concentrated diversity of art and theory, looking at a range of cross-cultural practices that emerged in the United States after 1960. Together we will investigate the dangers – the afflictions – of visibility as well as its privileges, and will consider how things come to be invisible and the power vested in this. The artists featured in this course turn their critical attention to the different structures that frame, position, objectify or survey the subject through processes of making visible or invisible. Through their work, we explore strategies for either contesting or enlisting these structures.   The course begins with an overview of the weeks and a discussion of course requirements. The final week will be dedicated to essay tutorials. Students are encouraged to develop (by Week Six) their own essay titles based on material in the course.