3.1 Nossa Senhora do Carmo altarpiece, 1735, gilded and painted wood, Carmo Church, Faro, Portugal (photo: Paulo Catrica) 89
3.2 Minute cross-section taken from the Nossa Senhora do Carmo altarpiece showing the thin gilding layer on top of the double-structured ground of fine-particled gesso mate over the coarser-grained gesso grosso, scanning electron microscope-backscattered (SEM-BSE) micrograph (photo: Isabel Pombo Cardoso) 90
3.3a Roman dagger and sheath (excavated in Chester, UK), iron; sheath approx. 5 cm across at widest point. The iron corrosion from the blade has completely enveloped the sheath (photo: Grosvenor Museum, Cheshire West and Chester Council) 93
3.3b X-radiograph of the Roman dagger and sheath showing the elaborate tin decoration on the sheath and the heads of rivets round the edge (photo: Vanessa Fell and Grosvenor Museum, Cheshire West and Chester Council) 93
3.4 Reconstruction drawing of the Roman dagger sheath showing how the components would be assembled. Structural details were established from the X-ray and from scanning electron microscope examination of the pseudomorph remains of horn (photo: Jacqui Watson and Historic England) 95
3.5 Llangorse, Wales, medieval textile, linen and silk, max. diam. 20 cm. The waterlogged mass is almost unrecognizable after limited cleaning. (photo: Amgueddfa Cymru—National Museum Wales) 97
3.6 Medieval textile from Llangorse after detailed cleaning and conservation, showing features of both woven pattern and stitching (photo: Amgueddfa Cymru—National Museum Wales) 97
3.7 Fragments of the medieval textile from Llangorse laid out with a drawing superimposed to indicate the woven pattern (photo: Amgueddfa Cymru—National Museum Wales) 98
3.8 Egypt, coffin of Nespawershefyt, around 1070–890 BC, detail of the inner coffin box (photo: The Fitzwilliam Museum, Cambridge) 106
3.9 CT (computerised tomography) scanning image of the same part of the inner coffin of Nespawershefyt, showing that the profile of the head has been changed by cutting wood away from the inner side of the planks as well as building up the external wall. The positions of the mortises on the rims have been changed too, suggesting that these are reused pieces of wood, possibly from an earlier coffin (photo: The Fitzwilliam Museum, Cambridge) 106
4.1 Ivor Davies, Adam on St Agnes’ Eve, 1968; Ni allaf ddianc rhag hon (I cannot escape this place), 2011, installation view, Amgueddfa Cymru—National Museum Wales (photo: Amgueddfa Cymru—National Museum Wales) 120
4.2 Ivor Davies, cue-sheet for the performance Adam on St Agnes’ Eve, 1968, Swansea, 21 January 1968 (photo: Ivor Davies) 124
4.3 Ivor Davies and Emily O’Reilly, paper conservator, with relics from Adam on St Agnes’ Eve, 1968, at the artist’s studio in Penarth, Wales (photo: Judit Bodor, 2013) 130
4.4 Q-lab cues for synchronised sound, visual and light elements in Adam on St Agnes’ Eve, 1968/2015. From Silent explosion. Ivor Davies and destruction in art, 2015–2016. AV technician: Chris Hardwick (photo: Judit Bodor) 132
4.5 Spectator participation in Adam on St Agnes’ Eve, 1968/2015. From Silent explosion. Ivor Davies and destruction in art, 2015–2016, Amgueddfa Cymru—National Museum Wales (photo: Judit Bodor) 132
4.6 Adam on St Agnes’ Eve, 1968/2015, multimedia environment created by Ivor Davies, Judit Bodor and Nicholas Thornton (curators), Emily O’Reilly (conservator), Chris Hardwick (AV), Charlie Upton (sound), and Luned Aaron (artist) for Silent explosion. Ivor Davies and destruction in art, 2015–2016, Amgueddfa Cymru—National Museum Wales (photo: Amgueddfa Cymru—National Museum Wales) 133
4.7 Adam on St Agnes’ Eve 1:25, 21 January 2016, devised and performed by Mike Pearson with Anna Kelsey and Sebastian Noel, Sam Barnes, Richard Huw Morgan, and John Rowley (photo: Holly Heathcote) 134
4.8 Adam on St Agnes’ Eve 1:25, 21 January 2016, devised and performed by Mike Pearson with Anna Kelsey and Sebastian Noel, Sam Barnes, Richard Huw Morgan, and John Rowley (photo: Judit Bodor) 134
5.1 Installation instruction from David Claerbout for the single-channel projection Vietnam, 1967, near Duc Pho (reconstruction after Hiromichi Mine), 2001 (made available by Archiv Sammlung Goetz, Munich), transcription by Katharina Ammann. Claerbout’s most recent instruction mentions different player and projector types 148
5.2 David Claerbout, Vietnam, 1967, near Duc Pho (reconstruction after Hiromichi Mine), 2001, single-channel video projection, colour, silent, loop 3’39”, installation view at Kunstmuseum St. Gallen, 2007. Courtesy the artist (photo: Studio David Claerbout) 151
5.3 David Claerbout, Vietnam, 1967, near Duc Pho (reconstruction after Hiromichi Mine), 2001, single-channel video projection, colour, silent, loop 3’39”, installation view at Kunstmuseum St. Gallen, 2007; the overexposed image shows the spatial setting. Courtesy the artist (photo: Katharina Ammann) 157
5.4 David Claerbout, Vietnam, 1967, near Duc Pho (reconstruction after Hiromichi Mine), 2001, single-channel video projection, colour, silent, loop 3’39”, installation view at Wiels, Brussels, 2011, together with Long Goodbye (2007). Courtesy the artist (photo: Jef Jacobs) 157
5.5 David Claerbout, Sections of a happy moment, 2007, single-channel video projection, black and white, stereo audio, 25’57”, installation view at Bündner Kunstmuseum 2009; in the foreground are two tableaux-pièges by Daniel Spoerri. With the artist’s consent, the video was not shown in a closed black box here. Courtesy the artist (photo: Stephan Schenk) 159
5.6 Technical installation of David Claerbout, Sections of a happy moment, 2007, single-channel video projection, black and white, stereo audio, 25’57”, installation view at Bündner Kunstmuseum 2009; background projection by Beat Streuli. Courtesy the artist (photo: Stephan Schenk) 160
6.1 Anna Oppermann, working state of Ensemble with decoration (Modes of behavior towards people when affection plays a part), decoration with birches, pears, and frames, since 1980 (filiation). Courtesy Estate Anna Oppermann and Galerie Barbara Thumm 167
6.2 and 6.3 Anna Oppermann, early working state of Ensemble with decoration (Modes of behavior towards people when affection plays a part), decoration with birches, pears, and frames, since 1980 (filiation), showing the iterative ensemble principle through different media and drawing of this photograph. Courtesy Estate Anna Oppermann and Galerie Barbara Thumm 171
6.4 and 6.5 Anna Oppermann, Ensemble with decoration (Modes of behavior towards people when affection plays a part), decoration with birches, pears, and frames, since 1980 (filiation), installation view at documenta 6, Kassel, 1977 and at Serpentine Gallery 1983. Courtesy Estate Anna Oppermann and Galerie Barbara Thumm 173
6.6 Method diagram illustrating different phases of consciousness of Oppermann’s artistic procedure. Courtesy Estate Anna Oppermann and Galerie Barbara Thumm 176
6.7 and 6.8 Drawing with personal notes on dealing with exhibition curators and artist scene and drawing illustrating the formation of Ensemble with decoration (Modes of behavior towards people when affection plays a part), decoration with birches, pears, and frames, since 1980 (filiation) and Oppermann’s intentions. Courtesy Estate Anna Oppermann and Galerie Barbara Thumm 178
6.9 and 6.10 Recursive documentation of daily working states during installation of the exhibition In Obhut (Anhand von Anna Oppermann) and final installation view of the ensemble staged as work in progress including the working table in the exhibition (photo: Anna Schäffler) 181
7.1 Henri Verne, ‘Le plan d’extension et de regroupement méthodique des collections du musée du Louvre. Les travaux de 1927 à 1934’, Bulletin des musées de France 1 (1934), 39 (photo: Ghent University Library) 188
7.2 Before and after shot of the rearranged painting collection. Henri Verne, ‘Le plan d’extension et de regroupement méthodique des collections du musée du Louvre. Les travaux de 1927 à 1934’, Bulletin des musées de France 1 (1934), 30 (photo: Ghent University Library) 193
7.3a The new arrangement of the Salle Jean Goujon in Henri Verne, ‘Le plan d’extension et de regroupement méthodique des collections du musée du Louvre. Les travaux de 1927 à 1934’, Bulletin des musées de France 1 (1934), 31 (photo: Ghent University Library) 194
7.3b Salle Jean Goujon in the Louvre as shown in Les Pierres vives—La sculpture française au Musée du Louvre (Fernand Marzelle, 1952). Digital film frame 194
8.1 Compositiones variae, fol. 219v (parchment fabrication recipe & others), c. 800, Lucca, Biblioteca Capitolare Feliniana, Cod. 490. Reproduced with permission from Archivio Storico Diocesano di Lucca 211
8.2 Storage box for Cod. 490, 2015, board & bookcloth, Lucca, Biblioteca Capitolare Feliniana (photo: Thea Burns, 2015) 213
8.3 Artisanal manuals, stemma or family tree showing general, not exact, trends and influences in the transmission of ideas and material. Reproduced with permission from Mark Clarke, The art of all colours. Medieval recipe books for painters and illuminators, London 2001, 27 215
8.4 Diagram of structure of quire 28 of Cod. 490, Lucca, Biblioteca Capitolare Feliniana (diagram: Thea Burns, 2017) 221
8.5 ‘Good Shepherd’ miniature, Cod. 490, fol. 348r, c. 800, Lucca, Biblioteca Capitolare Feliniana. Reproduced with permission from Archivio Storico Diocesano di Lucca 224
8.6 Detail of spine sewing after treatment, Geneva, Bibliothèque de Genève, Ms Gr 19 (photo: Andrea Giovannini) 227
9.1 and 9.2 Jackson Pollock in his studio, 1950; Jackson Pollock at work, 1950. Jackson Pollock and Lee Krasner papers, c. 1905–1984. Archives of American Art, Smithsonian Institution (photos: Rudy Burckhardt) 242
9.3 and 9.4 Barbara Rose interview, 1978. Jackson Pollock and Lee Krasner papers, c. 1914–1984, bulk 1942–1984. Archives of American Art, Smithsonian Institution. Pages 1 and 5 (detail) are from the edited transcript of an interview with Lee Krasner 245
9.5 Willem de Kooning, c. 1960. Photographs of artists by Fred McDarrah, 1963–1976. Archives of American Art, Smithsonian Institution (photo: Fred W. McDarrah) 246
9.6 Willem de Kooning’s studio, c. 1960s. Thomas Hess papers, 1937–1978. Archives of American Art, Smithsonian Institution (photo: W. [Walter] Silver) 246
10.1 Jorge Otero-Pailos, The Ethics of Dust: Alumix, Bolzano, 2008, collection of the Museion: Museum of Modern and Contemporary Art, Bolzano, Italy (photo: Patrick Ciccone) 268
10.2 Jorge Otero-Pailos, The Ethics of Dust: Alumix, Bolzano, 2008, detail of pollution, collection of the Museion: Museum of Modern and Contemporary Art, Bolzano, Italy. Courtesy the artist (photo: Jorge Otero-Pailos) 268
10.3 Jorge Otero-Pailos, The Ethics of Dust: Trajan’s Column, 2015 The installation is made of conservation latex that has been used to clean the hollow inside of the cast of Trajan’s Column, the largest object in the V&A Museum. It shows the dust and dirt accumulated over decades in the usually unseen interior of the column, hanging in the space next to the cast. Commissioned by the V&A Museum. Courtesy the V&A Museum (photo: Peter Kelleher) 270
10.4 Jorge Otero-Pailos, The Ethics of Dust: Maison de Famille Louis Vuitton, 2015, Panel #7 of the heptaptych. Louis Vuitton Collection. Courtesy the artist (photo: Louis Vuitton / Grégoire Vieille) 271
10.5 Jorge Otero-Pailos, The Ethics of Dust: Old US Mint, San Francisco, 2016. The installation is made of conservation latex that has been used to clean the chimneys of the Old US Mint, where the gold from the California gold rush was turned into coins. As one of the only buildings surviving the 1906 earthquake, the pollution from the US Mint is some of the oldest pollution in San Francisco. Collection of SFMoMA. Courtesy the artist (photo: Charlie Villyard. Courtesy Yerba Buena Center for the Arts) 272