In this essay the author responds to a special journal issue devoted to his latest book, Danse Macabre: Temporalities of Law and the Visual Arts. Critics have drawn attention to ways in which the interdisciplinary theories and methods developed by Manderson can be extended into new lines of inquiry including in relation to gender, Indigenous, and contemporary art. The author embraces these suggestions with specific reference to the political and neo-colonial implications of his discussion of the murals of Rafael Cauduro.
