Foreword / Michael Conforti
Introduction / Charles W. Haxthausen
Part One: The two art histories: perspectives
Whose art history? Curators, academics, and the museum visitor in Britain in the 1980s and 1990s / Stephen Deuchar
Magnanimity and paranoia in the big bad art world / Ivan Gaskell
Between academic and exhibition practice: the case of renaissance studies / Andreas Beyer
Constructing histories of Latin American art / Dawn Ades
Art history and its audience: a matter of gaps and bridges / Sybille Ebert-Schifferer
www.display: complicating the formats of art history / Barbara Maria Stafford
Part Two: The exhibition as discursive medium
Eloquent walls and argumentative spaces: displaying late works of Degas / Richard Kendall
Telling stories museum style / Mark Rosenthal
Repetition and novelty: exhibitions tell tales / Patricia Mainardi
German art - national expression or world language? Two visual essays / Eckart Gillen
Case for active viewing / William H. Truettner
Part Three: Impressionism: the blockbuster and revisionist scholarship
Murder, autopsy, or dissection? Art history divides artists into parts: the cases of Edgar Degas and Claude Monet / Richard R. Brettell
History of absence belatedly addressed: Impressionism with and without Mary Cassatt / Griselda Pollock
Blockbuster, art history, and the public: the case of Origins of Impressionism / Gary Tinterow
Possibilities for a revisionist blockbuster: Landscapes/impressions of France / John House
Tormented friendship: French Impressionism in Germany / Michael F. Zimmermann
Afterword / Richard Brilliant
