The acceleration of interest in Baldwin’s work and impact since 2010 shows no signs of diminishing. This resurgence has much to do with Baldwin—the richness and passionate intensity of his vision—and also something to do with the dedicated scholars who have pursued a variety of publication platforms to generate further interest in his work. The reach of Baldwin studies has grown outside the academy as well: Black Lives Matter demonstrations routinely feature quotations from Baldwin; Twitter includes a “Son of Baldwin” site; and Raoul Peck’s 2016 documentary, I Am Not Your Negro, has received considerable critical and popular interest. The years 2010–13 were a key period in moving past the tired old formula—that praised his early career and denigrated the works he wrote after 1963—into the new formula—positing Baldwin as a misunderstood visionary, a wide-reaching artist, and a social critic whose value we are only now beginning to appreciate. I would highlight four additional prominent trends that emerged between 2010 and 2013: a consideration of Baldwin in the contexts of film, drama, and music; understandings of Baldwin globally; Baldwin’s criticism of American institutions; and analyses of Baldwin’s work in conversation with other authors.