The final chapter illustrates the contemporary low-visibility of Asian American women artists in California, in contrast with high-profile contemporary East Asian art, especially Chinese male artists. The conclusion critiques the high-art cosmopolitan discourse, predicated upon the celebration of California’s multiple cultures and identities, as clashing with the rejection of the Asian female artist. Such a figure is too often reduced to a distant other, despite her local situatedness. The author argues that the dialectic tension between cosmopolitanism and a strong identity-based communitarianism permeating artistic discourses can be undone by embracing a transnational postcolonial, feminist approach in cultural policies implemented in California.
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