Although scholarship on how Islamic art is studied, collected, and exhibited is on the rise, what is less addressed is how the field's various commitments have related to pedagogical and curating practices. Bridging this gap between theory and practice, this book explores how the past two decades of debating methodologies for diverse, inclusive, decolonial, and global Islamic art histories have taken shape in classrooms, galleries, and related settings. The contributions span the following interrelated themes: Theory (critical approaches to teaching and curating), Method (examples of pedagogies), and Practice (curating, collecting, and archiving). The volume highlights the complexities brought on by the call for global art histories through focused case studies. In so doing, it aims to contend with the challenges--and not just successes--of teaching, curating, and researching Islamic art history in a global context, while also contributing new perspectives to discourses on the global turn writ large.