his book results from a series of me
on museums and globalizing processe
in New York, Buenos Aires
ported by the Rockefeller Foundation and the Smithsonian Institution
decade ago, Exhibiting Cultures (1991) and Museums and Communities (
These volumes reflected the concerns of the period, debating pluralis
representation of minority and non-Western cultures, and the role of
ums in civil society and in according or denying identity. The found
own programming, described briefly below, developed along similar li
the 1980s and early 1990s.
The foundation’s museums program, begun in 1989, sought to assert a
inclusive narrative of the United States in contemporary and tradition
tural production, supporting, among other projects, exhibitions of A
American, Asian American, Latino, and Native American art both in
stream museums such as the Whitney Museum of American Art and i
turally specific venues such as the Studio Museum in Harlem, the Wing
Museum in Seattle, and the Mexican Fine Arts Center in Chicago.2 A per
aim in funded exhibitions and scholarly research has been to question
and closed art history canons and museological practices, recognizing
ums as arenas of discourse and negotiation useful in defining new for
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