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Making Art Global

View of “Magiciens de la Terre,” 1989, Grand Halle de La Villette, Paris. Foreground: Kane Kwei, seven coffins (Eagle, Elephant, Fish, Lobster, House, Onion, Mercedes), all 1988. Midground left: Mario Merz, Untitled, 1989. Midground right: Nera Jambruck, Fronton de maison des hommes (Pediment of the House of Men), 1988. Rear wall: Richard Long, Red Earth Circle, 1989. In front of Red Earth Circle: Claes Oldenberg, From the Entropic Library, 1989.

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 lucrative master’s programs in curatorial practice have proliferated, so, too have publications on the subject, from books like Charlotte Klonk’s Spaces of Experience (2009) and Paul O’Neill’s The Culture of Curating and the Curating of Culture(s) (2012) to specialist journals (Manifesta

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