
CFP | ASSOCIATION FOR ART HISTORY 2026 ANNUAL CONFERENCE
- Call for Papers | Association for Art History 2025 Annual Conference
- 8-10 April, 2026
- University of Cambridge
- Call for Papers deadline: Sunday 2 November 2025
We are delighted to announce Call for Papers for our next year’s conference which will be held in collaboration with the History of Art department at the University of Cambridge.
The Association for Art History’s Annual Conference brings together international research and critical debate about art history and visual culture. A key annual event, the conference is an opportunity to keep up to date with new research, hear leading keynotes, broaden networks and exchange ideas.
The Annual Conference attracts around 400 attendees each year and is popular with academics, curators, practitioners, PhD students, early career researchers and anyone engaged with art history research. Members of the Association get reduced conference rates, and members and non-members are welcome to attend and propose sessions and papers. Convenors are limited to convening one session, and we ask that speakers give a paper in one session only.
We actively encourage applications from candidates who are Black, Asian, minority ethnic or from other groups traditionally underrepresented within art historical roles in the UK, as well as new partnerships from those representing these groups. We also welcome session proposals from art associations, societies and networks.
Scope/Provocation
The Annual Conference reflects the Association for Art History’s commitment to a broad and inclusive art history. We therefore strive for sessions, across all areas of research and practice, from the ancient to the contemporary and on all forms of artistic media and including those which focus on practice outside of Europe and North America. In a 21st century facing multiple global challenges, the recognition and support of inter-sectional arts histories are of critical importance, and we welcome submissions that engage with race and gender, the environment, AI, and social activism.
A word from our hosts
Established in 1970, the Department of History of Art at Cambridge offers a rich object-led programme of diverse content from the early Middle Ages to the present day to a growing community of undergraduates and postgraduates. Although originally focused on western art, today the Department teaches and researches varied regions of the world, making full use of Cambridge’s unique holdings of art and architecture. These include the Fitzwilliam Museum, Kettle’s Yard, the Museum of Archaeology and Anthropology, the Women’s Art Collection and the University Library, as well as Cambridge’s thirty-one Colleges. The Hamilton Kerr Institute, which is dedicated to the research and conservation of easel paintings, contributes to the Department’s teaching and research, as well as offering its own Masters in the Conservation of Easel Paintings. We are thrilled to be hosting the AAH Conference and look forward to welcoming you to our artistically vibrant city.
Paper Proposals
The 2026 Annual Conference is open to all, members and non-members of the Association for Art History. Anyone can submit a paper. Speakers, delegates and conveners pay to attend.
We’ve had an unprecedented number of excellent session proposals. A complete list of Sessions to which to submit can be downloaded here including information on how to submit a paper directly to the Session Convenor, and contact details for all Session Convenors.
Please include in your paper proposal:
- Title of your paper (please make sure the title is concise and reflects the contents of the paper because the title is what appears online, in social media and in the digital programme).
- Brief abstract (max 250 words)
- Your name
- Affiliations (or if independent/freelance)
- Email address for your convenor to contact you
- Social media handles
For more information and to submit a proposal see the 2026 Paper Proposal Form or contact conference2026@forarthistory.org.uk.
Sessions:
A Call to Action: Transnational Artistic Solidarities and Decolonial Alliances, 1960s–1970s
Africa, Art History, and the (University) Museum: approaches to object-led teaching and display
AI and the Artworld: Art History and the Generative Imagination
AI in the Art History Classroom
Always Connect? Relational Paradigms in Art History
Animal Representation in the Global Middle Ages: Bridging the Natural and Social Worlds
Aqueous Worlds: Art, Fluidity and Empire c.1600-1900
Archive as Method: Rewriting the Self in East Asian Art Practice
Archiving the Women Artist: Historiographic Negotiations in the Global South
Art History: Facts and Fiction?
Art is Dead: Long Live the Artist – Creativity in the Times of AI
Art Writing: Beyond the Crisis?
Art, Activism, and Power in the Contemporary Post-Soviet Space
Artistic Exchanges during the Global Cold War: Eastern Bloc, Northern Africa, and West Asia
At the Service of Art: Domestic Servants and Their Artists
Beyond Barbie: Queer, Crip, Feminist and Anti-Racist Approaches to Pink
Blue Aesthetics: Art and Aquatic Life
Book-objects: Bookness and artmaking
Britishness, Empire & the Picturesque
Carrying Across: Translation as Material Practice in the Pre-/Early Modern World
Chinatowns in Global Imagination
Co-creation: Human and non-human making processes and their environmental entanglements
Confounding Images: Frustration as Art Historical Method
Connecting Ecocritical Art Histories
Contemporary Proto-Feminisms: Reclaiming Historical Femininity in Practice and Criticism
Creative Resistance: Responding to Protracted Violence Through Art
Curating with AI: Risks and Opportunities
Decolonising Art History – Continuing the Conversation
Dis-ease: Art, Illness, and Abstraction
Early Modern Artists’ Signatures
Early Modern Caribbean Material Culture, c.1600-1830
Eco-art-histories: Plants and Paintings in the Arts of Asia
Eighteenth-Century Italian Art and Artists in Global Contexts
Embodied Histories, Dislocated Objects: Creative Practice and the Legacies of Empire in South Asia and its Diasporas
Embracing the World: East European Women Art Collectors as Social Influencers (19th-21st Century)
Empire, Art, and Nature: Specimens and their Proxies
Environmental Approaches to the Eastern Mediterranean Landscape, 1750-1920
Errors, Glitches, Blurs: The Art of Failure
Esotericism, Creativity, and Artistic Practice
Every Fiber of Our Being: Textile Traditions, Ethnonationalism, and Exclusion
Facing the Mongol Empire: The Role of Art History
Fashionability and the Art Market
Feminism in the Art Institution
Feminism, Art, and Politics: Critical Engagements with Heresies (1977-1993)
Gender and South Asian Visual Cultures in the Twentieth Century
Geoaesthetics: Art and Environmental Change in East and Inner Asia (14th–19th Centuries)
Horizontal Art History in Global Context: East Central Europe in the Present
How British is British Surrealism, 1936-2026?
Indigenous Subversions: Counter/Retrocolonization in Artistic Practice
Intermedia Dialogues in Art and Architecture
Irish Women Artists and their International Networks, 1870 – Present
Islands in Relation: Art, Memory, and Environment
Jews and Heritage in Twentieth-Century Britain: Collections, Aesthetics, Narratives
Jungle Ruins and Sacred Forests: Ecologies of the Forgotten Monument
Landscapes of Extraction: Colonial and Industrial Histories of British Landscapes, 1700-1900
Learning to Look, Looking to Learn: The Power of Observation
Mapping Human and Non-Human Migration in Contemporary Art
Materiality of the Unseen in the Long Nineteenth Century
Narrative Plasterwork in the Early Modern World
Patterning Worlds: Non-Figurative Art in Cross-Cultural Perspective
Performing Otherness in Contemporary Art
Practice Research at 100: Writing the long history of practice research in the art school
Premodern Portraits: New Approaches to Identity and Patronage
Private Collecting into Public Collection
Prototypes: Artist Information Strategies
Questioning the Illusion/Materiality Polemics in a Transcultural Art History
Reassessing Heroism in Medieval Art
Recentering Central Asia in Postwar Art Exchange
Reclaiming Craft: Decolonial Perspectives on Heritage and Innovation in the Islamic World
Re-contextualising Steles: Media, Memory, and Materiality
Reforms, revivals and returns revisited
Reimagining the Posthuman Body in the Digital Age
Rethinking History in Modernism
Situated Feminisms: Rethinking Art, Gender, and History in China
Sound, Vision, and the Spatial Imagination
South American Biennials: Dispositifs of Resistance and Diplomacy
Technical Art History: Integrating Art History with Scientific Inquiry
The Contemporary Turn in Historical Collections: Postcolonial Geographies
The Epic as Form in Modern and Contemporary Art
The Internationalisation of Spanish and Latin American Art in the Long Nineteenth Century
The Proclivities of Pleasure in Early Modern Art
This Must Be The Place: Beyond local/global binaries in ecocritical art history
This was Tomorrow: Reframing Pop
Trans (In)visibility in Medieval and Early Modern Visual Cultures
Transcultural Abstraction, Colonial Histories
Transcultural Mobilities: People, Artifacts, Materials, 1300-1750
Transparent Flesh: Reimagining the Medical Image in Contemporary Art
Unstable Monuments. Nation, States, Spaces, and Conflicts in Public Sculpture, 1811-1947
Victorian Art after Trans Studies
Visual Art and South Asian Textiles
Where Photography Happened: Sites of Photographic Experimentation and Pedagogy, 1950–1980
Wildfires in Contemporary Art: New Directions for Eco-Aesthetics
Word Acts: Text in Visual Art at the Intersection of Histories and Geographies
Key Dates
Date | Activity |
29 September | Sessions listed on AAH website and social media. Call for Papers announced. |
2 November | Call for Papers deadline. |
3 November – 7 December | Session convenors select papers and contact speakers. |
7 December | Session and paper abstracts sent to AAH deadline. |
December | Full details of sessions on AAH website. Tickets/registration opens. |
8-10 April 2026 | AAH Conference. |
Image: Photo by Meet Cambridge.