Objects without Texts: Mimbres Painted Bowls and the Problematics of Interpretation, by Andrew Finegold, provides a phenomenological account of works which self-referentially draw attention to the material, structural, and contextual conditions of their own apprehension.

Jack Hartnell’s essay, The Body Inside-Out: Anatomical Memory at Maubuisson Abbey, charts a long history of this institution from its medieval foundation to its early modern demise, folding together medicine, religious ritual, and sculpture into a distinctive form of institutional, anatomical memory.

The transnational career trajectories of the Venetian painters Natale Schiavoni and Giacomo Marastoni are investigated in Ideals for Sale: ‘Ideal Portraits’ and the Display of National Identity in the Nineteenth-Century Austrian Empire by Nóra Veszprémi.

Filipp Maliavin in Emigration: Artistic Strategy and the Afterlife of Secessionism, by Nicola Kozicharow, illuminates the rich possibilities that unfold when investigating artists residing in the middle ground between tradition and avant-garde, challenging narratives that dismiss continuity in artists’ careers as regressive.

How the radically expanded, albeit incoherent, visual language of the Soviet avant-garde in the early 1930s could function not only to reinforce, but also potentially to question, the state’s dictates is probed in ‘No Longer an Image, Not Yet a Concept’: Montage and the Failure to Cohere in Aleksandr Rodchenko’s Gulag Photoessay, by Aglaya Glebova.

The Proliferation of Dan Graham’s Pavilions, by Bill Roberts, explores these works’ relationship to minimalist art of the 1960s and to the postmodern architecture of the 1970s and 1980s, before considering the implications of their large number and global spread for current critical purchase.

A pair of publications on German art is reviewed in The Face of War by Jay Winter. Complicating Art History, by Elizabeth Robles, assesses a collection of essays on Christianity in African American art. In Living (and Dead) Colour, by Allison Morehead, evaluates a study of skin in French art and medicine. John Onians’ discusses a cultural history of likeness in About Face. Hans Christian Hönes addresses a recent publication on modern design in Embodied Formalism: Knowledge beyond Thought. And In The Metaphysics of Drawing, by Hanneke Grootenboer, considers a new history of the senses in early modernity.