Art projects are appropriate building blocks for visual art curriculum because good art projects encode complex aesthetic strategies, giving students tools to investigate and make meaning. Art made in schools will inevitably be some form of "school art," defined by Arthur Efland in "The School Art Style: a Functional Analysis," as "a form of art that is produced in the school by children under the guidance and influence of a teacher" (1976, p. 37). However, the influence of teachers can support as well as stifle individual creativity and meaningful exploration of content. "School art" does not inevitably signify educational art activities that are inauthentic and rule-bound. New school art styles can be developed that skillfully and creatively utilize available materials, tools, technologies, critical theories and contexts to introduce students to a wide-range of developmentally appropriate aesthetic practices--means of artmaking based in particular methodologies of experiencing, producing, making meaning, and interpreting (Gude, 2008). With such an education, students can now (and then later as adults) utilize various aesthetic sensibilities and practices to frame and re-frame experience, to develop "their own unique idioms of investigating and making," and to generate patterns of perception that enable them to see the world with fresh insight (Gude, 2009, p. 10). The possibilities for 21st-century art education cannot yet be fully known, envisioned, or articulated because the field is in the process of being re-imagined and revitalized. This is the contemporary research and development project of the field of art education being conducted by thousands of practitioners--art teachers, professors, community artists, teaching artists, and museum educators--in collaboration with their students and other community participants. In this article professor Olivia Gude iterates her contribution to this unfinished project of reimagining visual arts education is based on identifying a number of familiar, commonly taught projects and exercises. She then asks if there are other frameworks and valuing systems through which these projects can be reconsidered and then redesigned to broaden and deepen the potential for students to have meaningful experiences and to make meaningful art. This then supports students in developing more wide-ranging and nuanced understandings of the world, conducting investigations through gaining and utilizing relevant disciplinary knowledge and skills--rooted in the past and including the latest contemporary developments within various relevant disciplinary practices. Herein, she evaluates a number of different types of art projects and describes the values of each. She concludes that today evolving "new school" art styles can place the field of art education in a central position in school transformation because of art education's potential to integrate art into the core mission of truly successful schools--stimulating engaged inquiry utilizing a variety of methods drawn from a wide range of disciplinary practices.