This article explores some of the complexities of teaching art and design history to students in a Design Extended Curriculum Programme at a university of technology in the context of post-1994 South African society--a society troubled by the ghosts of colonial and apartheid histories that agitate the present/future. Tracking a series of diffractive pedagogical encounters, the article makes visible how, as a discipline, art history haunts the curriculum by reinforcing Western cultural superiority. The article argues that speaking-with and drawing-with dis/appeared ghosts offer new possibilities for reconfiguring art history curriculum studies that both valorise historicity and in turn open us towards different futures. The case study centres around the construction of the "Venus figure" as an embodiment of humanist Western cultural ideologies and practices that reduce the female body to an object of capture for man. Students intra-act with various representations of the Venus figure across art history through the story of Sarah Baartman, the so-called "Hottentot Venus", whose haunting presence continues to contour, colour and texture discourses around decolonising the curriculum in South African higher education.