Study of the material remains of Greek and Roman antiquity played a key role in the eighteenth- and nineteenth-century emergence of the modern disciplinary formation of Classics as the comprehensive study of the ancient Mediterranean world. Over the same period, it was also central to the development of racial thought in the spheres of aesthetics, ethnology, and historical anthropology. After articulating a conception of race that, following Stuart Hall and Noémie Ndiaye, treats it as a ‘sliding signifier’ drawing upon an archive or repertoire of racial tropes, this chapter discusses how, in studying Greek and Roman monuments under the sign of ‘art’, eighteenth- and nineteenth-century scholarship attended to material antiquity in a manner that was both formed by and formative of constructions of race emerging between the ‘Age of Discovery’ and the European ‘Enlightenment’. It explores the relation of classical art historiography to other racializing discourses of difference along three key axes: ‘Culture’, ‘Differentiation’, and ‘Beauty’, attending to the role of environmental or climate theory, heredity, and physiognomy in emerging theories that sought to explain the diversity of ancient and modern peoples as evidenced by their visual and material productions.