The present paper had as main objective to gather practices and conceptions aimed at the promotion of intercultural teaching of Visual Arts in school education. Based on the understanding that the social-historical idea of hegemonic art has produced the non-existence of the arts among the subordinated people by processes of outrification and peripherization (exclusion to periphery) restricting them in the past of the history of the art. The theoretical reference articulates the concepts of critical interculturality (WALSH, 2009, 2011), the conception of intercultural critical education (CANDAU, 2006, 2009a, 2009b, 2014, 2016) and the ecology of knowledge (SANTOS, 2006, 2008, 2010) in connection with the conceptions of post-modernism visual arts teaching (BARBOSA, 1981, 1998, 2002, 2005), intercultural teaching of arts (RICHTER, 2002, 2003, 2008; MASON, 2000) integrated curriculum and poorly structured disciplines (PARSONS, 2005) and post-autonomous art (CANCLINI, 2012). A case study of the interculturality and Visual Arts at Colégio Pedro II was undertaken, mainly using semi-structured interviews. The results point out the existence of an out-of-the-box arts teaching based upon the concepts of arts as experience and art in large field which has invested in interculturality as the epistemological source of workshops where students tell their life stories; of the curriculum by thematic main points touched by contemporaneous art and pop art, with emphasis on native, African and Afro-Brazilian art; of ongoing teacher training with focus on the meaning of the relationship between teacher/researcher and teacher/curator; of antiracist visual arts teaching connected to the cultural identities of the practitioners. This perspective is in articulation with the demands for cognitive justice and a dignified education and has put forward as a critical issue the concept of quality of visual arts teaching controlled by the single root history of art - linear and Eurocentric.