White straight cis male colonialism is settled within the fields of art and art education (deSouza, 2018; Elkins & Fiorentini, 2021). Educators and artists must be engaged with the world in which they and their students live. The new civil rights movement demands that they take up the cause of justice and antiracism both in their lives and in their professions. As a White queer nonbinary art teacher Adam Farcus believes it is important that White and privileged educators do antiracist and antibias work because they can serve as a model for allyship, and because they can undermine the essentialist notion that this work is only done by people who experience racism and bias. Farcus' focus on antiracism, antibias, and diversity in art education was prompted by observing curricula that perpetuate the hegemonic canon of art history. Through examples from one of their classrooms, this instructional resource illustrates how art teachers can work within existing curricula to deconstruct or trouble the racist, biased, and exclusive ideologies perpetuated by the canon of art history, include students in the critique and reinvention of the art canon and other systems of oppression, and build diversity-committed communities of support. Farcus' examples demonstrate how a pedagogy that practices a system of inclusion can create a classroom community where the students see themselves represented in the course content and where oppression is checked at the door.