How does contemporary art from Japan, Europe, Korea, Thailand or Pakistan differ? Are there connections between the pre-colonial image production of African countries and today’s contemporary art? What is our image of Africa and how do artists and curators deal with it? How does a Chinese composer who studied with the various major players in new music in Germany deal with his own country’s tradition? Dietrich Heißenbüttel deals with these and other questions in the essays in this volume.