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During the height of France's colonial period, museums served as key sites for teaching the public how to see themselves and others through the lens of race and sexuality. This museal gaze continues to haunt representations of Blackness in contemporary France, especially amid intensified debate over the country's colonial legacy and racial politics. Unlearning the Gaze examines how African and afrodescendant Francophone creators confront, reinterpret, and unsettle these inherited visual regimes.

Focusing on contemporary literary, performance, and visual works by creators such as Bintou Dembele, Omar Victor Diop, Fatou Diome, and Julien Creuzet, among others, Abigail E. Celis analyzes a corpus that repurposes the tropes and mechanisms of colonial exhibition and collection. Some works depict the inner workings of ethnographic museums or revisit representational forms such as natural history treatises and colonial fairs; others more subtly rework the hierarchies of humanness disseminated through such sites. Celis identifies two broad strategies offered in response to these museal practices: reprisal, which exposes and deconstructs the myths and mechanisms of the racial-colonial gaze, and refusal, which turns toward queer, afrodescendant, decolonial, and ecological ways of seeing. Rather than proposing a singular alternative gaze, the book demonstrates the diversity of aesthetic engagements that unlearn colonial visual biopolitics.

Unlearning the Gaze offers an interdisciplinary account of the afterlives of colonialism and the politics of representation. It will interest scholars and graduate students in Francophone and Africana studies, as well as readers in visual culture, art history, museum studies, and comparative literature.

This book is published in open access thanks to the financial support of the Universite de Montreal Libraries.