"Those who thought it awful that the events of September 11th should have reminded people of the movies, those who thought it a condemnation of our taste and irrefutable proof that we should reform our popular entertainment, were undoubtedly as well meaning as they were entirely wrong," suggests Daniel Cottom in his provocative essay "To Love to Hate" (Representations 80). From similarly interdisciplinary perspectives, the articles grouped here consider the visual evidence of culture, past and present, variously examining the artifacts of traditional arts, popular and folk culture, archaeology, architecture, and cities themselves.

Elizabeth Abel, "Shadows," Fall 2003, 84: 166-99.

David Antin, "Biography," Fall 1986, 16: 42-49.

Carol Armstrong, "Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas," Winter 1988, 22: 108-41.

Ulrich Baer, "To Give Memory a Place: Holocaust Photography and the Landscape Tradition," Winter 2000, 69: 38-62.

Leonard Barkan, "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives," Fall 1993, 44: 133-66.

Emma Barker, "Reading the Greuze Girl: The Daughter's Seduction," Winter 2012, 117: 86-119.

Andrew E. Barshay, "The Painted Gulag: Kazuki Yasuo and The Siberia Within Me," Summer 2012, 119: 60-91.

Peter Benson, "Freud and the Visual," Winter 1994, 45: 101-116.

Harry Berger Jr., "Fictions of the Pose: Facing the Gaze in Early Modern Portraiture," Spring 1994, 46: 87-120.

Harry Berger Jr., "The System of Early Modern Painting," Spring 1998, 62: 31-57.

Charles Bernheimer, "Degas's Brothels: Voyeurism and Ideology," Fall 1987, 20: 158-86.

Stephen Best, "Neither Lost nor Found: Slavery and the Visual Archive," Winter 2010, 113: 150-163.

Benjamin Binstock, "Seeing Representations; or, The Hidden Master in Rembrandt’s Syndics," Summer 2003, 83: 1-37.

R. Howard Bloch and Frances Ferguson, eds., Misogyny, Misandry, and Misanthropy, special issue, Fall 1987, number 20.

Susan Blood, "The Precinematic Novel: Zola's La Bête humaine," Winter 2006, 93: 49-75.

Christopher Braider, "Cet hymen différé: The Figuration of Authority in Corneille's Le Cid," Spring 1996, 54: 28-56.

Katherine Breen, "Returning Home from Jerusalem: Matthew Paris's First Map of Britain in Its Manuscript Context," Winter 2005, 89: 59-93.

James E. B. Breslin, "The Trials of Mark Rothko," Fall 1986, 16: 1-41. 

David A. Brewer, "Making Hogarth Heritage," Fall 2000, 72: 21-63.

Christopher Bush, "The Ethnicity of Things in America's Lacquered Age," Summer 2007, 99: 74-98.

Alberto Cambrosio, Daniel Jacobi, and Peter Keating, "Arguing with Images: Pauling's Theory of Antibody Formation," Winter 2005, 89: 94-130.

Lisa Cartwright, "'Experiments of Destruction': Cinematic Inscriptions of Physiology," Fall 1992, 40, 129-52.

Kevin Chua, "In the Shadow of David's Brutus," Winter 2013, 121: 107-39.

Eileen Cleere, "Dirty Pictures: John Ruskin, Modern Painters, and the Victorian Sanitation of Fine Art," Spring 2002, 78: 116-139.

Carol J. Clover and Michael Rogin, eds., "Entertaining History: American Cinema and Popular Culture," special forum, Winter 1990, 29: 1-123.

Carol J. Clover, "Her Body, Himself: Gender in the Slasher Film," Fall 1987, 20: 187-228.

J.D. Connor, "'The Projections': Allegories of Industrial Crisis in Neoclassical Hollywood," Summer 2000, 71: 48-76.

Huey Copeland, "Glenn Ligon and Other Runaway Subjects," Winter 2011, 113: 73-110

Huey Copeland and Krista Thompson, "Perpetual Returns: New World Slavery and the Matter of the Visual," Winter 2011, 113: 1-15

Daniel Cottom, "To Love to Hate," Fall 2002, 80: 119-38.

Christopher Craft, "Come See About Me: Enchantment of the Double in The Picture of Dorian Gray," Summer 2005, 91: 109-136.

Jonathan Crewe, "In the Field of Dreams: Transvestism in Twelfth Night and The Crying Game," Spring 1995, 50: 101-21.

Thomas Crow, "Codes of Silence: Historical Interpretation and the Art of Watteau," Fall 1985, 12: 2-14.

Stuart Culver, "What Manikins Want: The Wonderful World of Oz and The Art of Decorating Dry Goods Windows," Winter 1988, 21: 97-116.

Jacques de Caso, "The Written Drawing: The Work of Théophile Bra," Fall 2000, 72: 82-96.

Lorraine Daston and Peter Galison, "The Image of Objectivity," Fall 1992, 40: 81-128.

James Elkins, "On Visual Desperation and the Bodies of Protozoa," Fall 1992, 40: 33-56.

Josh Ellenbogen, "Camera and Mind," Winter 2008, 101: 86-115.

Philip Fisher, "Pins, a Table, Works of Art," Winter 1983, 1: 43-58. 

Aaron Fogel, "Bruegel's The Census at Bethlehem and the Visual Anticensus," Spring 1996, 54: 1-27.

Douglas Fordham, "Costume Dramas: British Art at the Court of the Marathas," Winter 2008, 101: 57-85.

Simon Goldhill, "A Writer's Things: Edward Bulwer Lytton and the Archaeological Gaze; or, What's in a Skull?", Summer 2012, 119: 92-118.

Mike Goode, "The Joy of Looking: What Blake's Pictures Want," Summer 2012, 119: 1-36.

Stephen Greenblatt, "Exorcism into Art," Fall 1985, 12: 15-23.

Darcy Grimaldo Grigsby, "Negative-Positive Truths," Winter 2011, 113: 16-38.

Darcy Grimaldo Grigsby, "Afterthought: Patina, Painting, and Portentous Somethings," Spring 2002, 78: 140-144.

Valentin Groebner, "Inside Out: Clothes, Dissimulation, and the Arts of Accounting in the Autobiography of Matthäus Schwartz, 1496-1574," Spring 1999, 66: 100-21.

Suzanne Guerlac, "The Useless Image: Bataille, Bergson, Magritte," Winter 2007, 97: 28-56.

Richard Helgerson, "Soldiers and Enigmatic Girls: The Politics of Dutch Domestic Realism, 1650-1672," Spring 1997, 58: 49-87.

Andrea Henderson, "Magic Mirrors: Foramlist Realism in Victorian Physics and Photography," Winter 2012, 117: 120-150.