Abstract
t is a sad but inescapable truth that for some time now academic disciplines have been drifting apart, carried along by the energy of their increased specialization. recent rise in the number of conferences, publications, and exhibitions that attempt to bridge the gaps and that proclaim a new awareness of the merits of crossdisciplinarity is only the paradoxical confirmation of a status quo and the discomfort it has engendered. In this scenario architecture's slow but sure distancing from the center of art history as a discipline is a fact so well known that it requires little restating. One need only think of the session slates for the College Art Association, the International Conference for Art History, or the Renaissance Society of America, or of theme-based conferences like The Renaissance in the
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