The value of recent theoretical perspectives in art education does not lie in providing comprehensive definitions that include all the artifacts and properties that "count" as visual culture, material culture, or mass arts. Instead, the value of articulating theoretical perspectives lies in mapping the terrain of cultural phenomena. In this article, the authors assert that power is a central feature of visual culture, and consider how theoretical discourse on power and privilege might be relevant to practice. They describe a colloquium session for graduate students and faculty at Penn State that they planned with the purpose of revealing how power operates in practice within student-teacher relationships. This colloquium focused on issues of diversity significant to understanding, appreciating, and experiencing visual culture.