Abstract
This article is part of the Objects in Motion series in British Art Studies, which is funded by the Terra Foundation for American Art. Projects in the series examine cross-cultural dialogues between Britain and the United States, and may focus on any aspect of visual and material culture produced before 1980. The aim of Objects in Motion is to explore the physical and material circumstances by which art is transmitted, displaced, and recontextualised, as well as the transatlantic processes that create new markets, audiences, and meanings.
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