•Introduction
•<b>Part One: The Grand Narrative of Art in the Modern World</b>
•1: The Early Modern Revolution in the Arts
•2: Why the Revolution?
•3: The Grand Narrative and the Grand Narrative Theses
•4: Wherein Lies the Worth of Disinterested Attention?
•5: Art, Religion, and the Grand Narrative
•<b>Part Two: Why The Grand Narrative Has To Go</b>
•6: The Inapplicability of the Grand Narrative to Recent Art
•7: Why the Grand Narrative Never Was Tenable
•<b>Part Three: A New Framework For Thinking About The Arts</b>
•8: The Arts as Social Practices
•9: Meaning of Works of the Arts and Artworks
•<b>Part Four: Memorial Art</b>
•10: The Social Practices of Memorial Art
•11: The Memorial Meaning of the Mural Art of Belfast
•<b>Part Five: Art For Veneration</b>
•12: The Social Practices of Art for Veneration
•<b>Part Six: Social Protest Art</b>
•13: The Social Practices of Social Protest Art
•14: The Social Protest Meaning of Uncle Tom's Cabin
•15: The Social Protest Meaning of the Graphic Art of Käthe Kollwitz
•<b>Part Seven: Art That Enhances</b>
•16: Work Songs: Social Practice and Meaning
•<b>Part Eight: The Art-Reflexive Art of Today's Art World</b>
•17: The Social Practices of Art-Reflexive Art
•18: Art-Reflexive Meaning in the Work of Sherrie Levine
•<b>Epilogue: Good Works and Just Practices</b>
•19: What Happened to Beauty?
•20: The Pursuit of Justice and the Social Practices of Art
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