How is art made to matter through the law? How do policies for governing cultural heritage define art as a valued resource to be protected for future generations, and what are the histories and anxieties surrounding these regulations? This course will focus on several instances of art’s intersections with legal regimes, with special attention to the attempt to treat art as a form of property. We will look at examples of legal conflict over the status and meaning of art including: the censorship of “dangerous” art and exhibitions; the repatriation of Indigenous cultural property in the United States, Australia, Aotearoa/New Zealand, and Canada; uses of art as evidence in court hearings; and the place of propaganda in international art worlds. We will develop understandings of how art shapes and is shaped by the “lawfare” that regulates property and propriety. Moving beyond representational understandings of art, we will engage with the connective and critical practices of artists such as Bonnie Devine, Maria Magdalena Campos-Pons, Félix González-Torres, James Luna, Fred Wilson, and Lorna Simpson. We will read texts by social and critical theorists who interrogate the relationships between aesthetics and justice, including Jennifer González, Audra Simpson, and Lynda Nead.