
Making Art Global
AROUND THE TURN OF THE MILLENNIUM, books dealing with the relatively new art-historical subgenre of exhibition history were few and far between. The category pretty much comprised the anthology Thinking About Exhibitions (Bruce W. Ferguson et al., 1996), Bruce Altshuler’s The Avant-Garde in Exhibition (1998), and Mary Anne Staniszewski’s The Power of Display (1998). These methodologically disparate works had little in common beyond their obscurity: Simply being aware of them felt like being part of an esoteric minority seeking cult knowledge. Since the late 2000s, however, as institutionally