'One of the most interesting and articulate books written about art made in a non-Western, colonial site … This is not the view of an outsider, but of an insider … marvellous'
'Possessions intelligently and sensitively navigates the relationship between indigenous and settler cultures in Australia and New Zealand'
Geoffrey Batchen, University of Oxford
'In this re-issue of his ground-breaking book Possessions, Thomas provides what many of us in settler colonies are currently grappling with: the need to assess where we have been in the project of decolonising art and art history, and the need to re-think where we are now'
Peter Brunt, Victoria University, Wellington
'[Thomas's] writing is spare, elegant and persuasive'
Marina Vaizey, The Art Newspaper
'This book has implications that extend far beyond the anthropology of art... unusual and innovative'
'Thomas operates at the mental border-post where art criticism, sociology, anthropology and history fade into each other … Civilised, judicious, at ease with uneasy perspectives, Thomas marks in 'Possessions' the apotheosis of modern anthropology'
'Possessions has ensured that settler-colonial and Indigenous histories from the eighteenth century onward can never again be separated but are perceived as entangled narratives... a major statement'
Tim Barringer, Yale University
'A prescient, foundational study'
Ruth Phillips, Carleton University, Ottawa
'An astute and dynamic analysis of colonialism [Thomas provides] a powerful, transdisciplinary theoretical and methodological model for understanding the varied practices—from appropriation to appreciation, from resistance to resilience—by which art mediates the colonial encounter for both settlers and Indigenous peoples'
Aaron Glass, Bard Graduate Centre, New York
'Significantly reframes the old issue of the relationship between primitivism and modernism'
Journal of Aesthetics and Art Criticism
'[Thomas is] a writer of the rarest quality'