Lyneise Williams is an Associate Professor of Art History at the University of North Carolina at Chapel Hill (PhD Yale 2004). She is the author of Latinizing Blackness: Representations of Black Latin Americans in Paris, 1855-1933, (Ashgate 2016), which examines how Parisians’ visual iconography of Latin Americans in popular imagery inextricably links blackness to Latin American identity beginning in the mid-nineteenth century and into the early twentieth century. Three case studies focusing on the imagery of Cuban circus entertainer, Chocolat, Panamanian World Bantamweight Champion Alfonso Teofilo Brown, and Black Uruguayans by Uruguayan painter, Pedro Figari, demonstrate the way this strategy was reconfigured in portrayals of phenotypically black Latin Americans, and argue for a nuanced reconsideration of blackness in early twentieth century Paris. Her second book project, which continues to tease out the presence of and figurations of Latin Americans in early twentieth century France, explores the intersection of male beauty, masculinity, sports, and the black male body through the images and performances of Panamanian, Alfonso Brown, and other black sports figures in interwar Paris. She has published articles on the paintings of Uruguayan artist Pedro Figari, the depictions of Panamanian boxer Alfonso Teofilo Brown, as well as on African art and hip-hop jewelry. Williams has curated exhibitions on African art, African American art, and she is a member of the team selected from an international competition to design the North Carolina Freedom Monument Project in Raleigh, North Carolina.