One of the defining characteristics of the emergent academic field of visual culture studies is its insistence on a methodological principle of complete inclusion. Everything within the realm of visual objects and practices is worthy of consideration—especially imagery traditionally neglected or felt to be outside the purview of "classical," "fine," "canonical," or "high art." Those who are concerned about all that has been ignored and devalued in the domain of image making have a special affinity for the maverick and controversial movement called contemporary folk, grassroots, self-taught, vernacular, or outsider art. Outsider art has no easily definable stylistic tradition or distinct movement in the conventional art history sense but instead refers to a loose grouping of persons, practices, and attitudes distinguished primarily by their peripheral relationship to elite culture and the mainstream art world. This marginality is largely determined by various psychological (e.g., psychosis...