What “vision” does Visual Studies hold for the proliferation of extra-visual artworks that comprise both its history and future? How are “images” produced beyond the notion of sightedness? How do artists use haptics across touch-based, sound based, time-based, durational, ephemeral, and conceptual sculpture and choreographies? What can artworks do in their descriptions, hashtags, and alt-text that they cannot do in their visual image alone? How do site specific works circulate beyond visual reproduction and in what ways can we dislodge the specificity of both site and sight? What is non-locality? This course will survey and elaborate the field of cultural production and art historical works that have resisted the primacy of visual production, reception, and circulation. We will begin our study with ancient art objects deemed portable like the “Venus of Willendorf” and move through to work’s like Robert Barry’s “Inert Gas Series”, Lygia Clark and Hélio Oiticica’s participatory works and to contemporary works like Park McArthur’s “Carried and Held” and “PARA-SITES”, Cameron Rowland’s “Depreciation”, and Kayla Hamilton’s “Nearly Sighted”. This course will be a mix of artists’ interviews, curatorial statements, press releases, and art writing alongside brief engagement with theoretical texts from Aesthetics, Black Studies, Disability Studies, Performance Studies, Quantum Theory, and Queer & Trans Studies; this course will also highlight hands-on studio investigation and experimentation in accessible production for D/deaf, Blind, and Disabled audiences. There are no prerequisites for this course. This course fulfills a studio or practice-based visual arts requirement for Visual Studies students. This course can satisfy a Visual Studies elective requirement or an Arts program LINA (Interdisciplinary Arts) requirement.