Abstract
The Exhibition Histories collection, in which this book is the seventh volume, does not aim to propose a history based on proper names, successive movements, or emblematic works. Rather, it invites us to think in terms of relationships, to consider the discordant and often contingent forces that give form to an exhibition (curators, artists, different kinds of public, institutions, and critical reception at the time, and today); to study closely the spatial, mass-media and critical conditions...
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