Visual Culture in

tion. The author argues that all the activity suggests that visual culture is now an art educational paradigm, though the great divergence of practice and understanding sug gests it is a name only. Evidence suggesting the current paradigmatic nature of visual culture includes the number of publications and conference presentations on visual culture; reports ofcUssroom activity; robust debate among proponents; outside criti cism; and a sense that for many it has become naturalized as part of their accepted practice. At the same time the great divergence among this activity includes employing the term as though it continued primarily to mean traditional art forms and practices; only superficially related to popuUr culture; idea development without any specific content; a dialogic and critical inquiry pedagogy; an exclusive focus on deconstruction; deconstruction of one media and response in another media; and, finally, practices that emulate media education. The author concludes by chiming that visual culture in art education remains a work in progress.