Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris. Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris. Alexander Streitberger is professor of art history at UCLouvain. Alexander Streitberger is professor of art history at UCLouvain. Hilde Van Gelder is Professor of Art History at KU Leuven. Erik Verhagen is professor of art history at Université de Lille. Erik Verhagen is professor of art history at Université de Lille.

• 7 Preface11 IntroductionValérie Mavridorakis23 Rauschenberg’s Bed (1955) and II. Documenta (1959): Histoire Croisée of a Transatlantic ConundrumGregor Stemmrich47 “If It Is Possible, It Is Best If You Bring Your Work Yourself”: Infrastructure, Logistics, and Production at documentaFelix Vogel63 Artists, Critique, and the New York–Cologne Axis in the 1980s and 1990sAlexander Alberro79 Must Art Hang? Critical Ambivalence in Andrea Fraser’s Exhibitions at Galerie Christian NagelAlexander Streitberger103 Think-Crazy. Charles Simonds’s Exhibition at Jürgen Schweinebraden’s EP Galerie in East Berlin: Notes on a Cooperation Between a Private Art Institution in the GDR and the DAAD Artists-in-Berlin Program in West BerlinNóra Lukács121 Belated Recognition: Critical Reception of East German Art in the United States Around 1990Gregory H. Williams133 Franz Erhard Walther in New YorkErik Verhagen147 Schütte’s Amerika (1975): A Nietzschean Critique of US Conceptualism in DüsseldorfStefaan Vervoort165 Between Rhine–Ruhr and Rust Belt: Industrial Transnationalism in Reinhard Mucha’s The Wirtschaftswunder, To the People of PittsburghAlthea Ruoppo183 Charles W. White in East Berlin: Progressive Art History and the Limits of Socialist Solidarity in the German Democratic Republic, 1951–1978Claudia Mesch197 Network as an Expansion Strategy: Robert Barry and the Development of Artist Relations of Galerie Paul Maenz in CologneStefano Agresti213 Infrastructural Economies in Post-Conceptual Film Practices of the 1970s and 1980s: The Example of the Neo-Narrative Essay FilmSabeth Buchmann229 Post-Gulf War Specifications in the German–US Art Exchange from a Munich Perspective, 1996–2001Dirk Snauwaert241 Plates257 About the Authors

Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris. Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris. Alexander Streitberger is professor of art history at UCLouvain. Alexander Streitberger is professor of art history at UCLouvain. Hilde Van Gelder is Professor of Art History at KU Leuven. Erik Verhagen is professor of art history at Université de Lille. Erik Verhagen is professor of art history at Université de Lille.

• 7 Preface11 IntroductionValérie Mavridorakis23 Rauschenberg’s Bed (1955) and II. Documenta (1959): Histoire Croisée of a Transatlantic ConundrumGregor Stemmrich47 “If It Is Possible, It Is Best If You Bring Your Work Yourself”: Infrastructure, Logistics, and Production at documentaFelix Vogel63 Artists, Critique, and the New York–Cologne Axis in the 1980s and 1990sAlexander Alberro79 Must Art Hang? Critical Ambivalence in Andrea Fraser’s Exhibitions at Galerie Christian NagelAlexander Streitberger103 Think-Crazy. Charles Simonds’s Exhibition at Jürgen Schweinebraden’s EP Galerie in East Berlin: Notes on a Cooperation Between a Private Art Institution in the GDR and the DAAD Artists-in-Berlin Program in West BerlinNóra Lukács121 Belated Recognition: Critical Reception of East German Art in the United States Around 1990Gregory H. Williams133 Franz Erhard Walther in New YorkErik Verhagen147 Schütte’s Amerika (1975): A Nietzschean Critique of US Conceptualism in DüsseldorfStefaan Vervoort165 Between Rhine–Ruhr and Rust Belt: Industrial Transnationalism in Reinhard Mucha’s The Wirtschaftswunder, To the People of PittsburghAlthea Ruoppo183 Charles W. White in East Berlin: Progressive Art History and the Limits of Socialist Solidarity in the German Democratic Republic, 1951–1978Claudia Mesch197 Network as an Expansion Strategy: Robert Barry and the Development of Artist Relations of Galerie Paul Maenz in CologneStefano Agresti213 Infrastructural Economies in Post-Conceptual Film Practices of the 1970s and 1980s: The Example of the Neo-Narrative Essay FilmSabeth Buchmann229 Post-Gulf War Specifications in the German–US Art Exchange from a Munich Perspective, 1996–2001Dirk Snauwaert241 Plates257 About the Authors

Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris. Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris. Alexander Streitberger is professor of art history at UCLouvain. Alexander Streitberger is professor of art history at UCLouvain. Hilde Van Gelder is Professor of Art History at KU Leuven. Erik Verhagen is professor of art history at Université de Lille. Erik Verhagen is professor of art history at Université de Lille.

• 7 Preface11 IntroductionValérie Mavridorakis23 Rauschenberg’s Bed (1955) and II. Documenta (1959): Histoire Croisée of a Transatlantic ConundrumGregor Stemmrich47 “If It Is Possible, It Is Best If You Bring Your Work Yourself”: Infrastructure, Logistics, and Production at documentaFelix Vogel63 Artists, Critique, and the New York–Cologne Axis in the 1980s and 1990sAlexander Alberro79 Must Art Hang? Critical Ambivalence in Andrea Fraser’s Exhibitions at Galerie Christian NagelAlexander Streitberger103 Think-Crazy. Charles Simonds’s Exhibition at Jürgen Schweinebraden’s EP Galerie in East Berlin: Notes on a Cooperation Between a Private Art Institution in the GDR and the DAAD Artists-in-Berlin Program in West BerlinNóra Lukács121 Belated Recognition: Critical Reception of East German Art in the United States Around 1990Gregory H. Williams133 Franz Erhard Walther in New YorkErik Verhagen147 Schütte’s Amerika (1975): A Nietzschean Critique of US Conceptualism in DüsseldorfStefaan Vervoort165 Between Rhine–Ruhr and Rust Belt: Industrial Transnationalism in Reinhard Mucha’s The Wirtschaftswunder, To the People of PittsburghAlthea Ruoppo183 Charles W. White in East Berlin: Progressive Art History and the Limits of Socialist Solidarity in the German Democratic Republic, 1951–1978Claudia Mesch197 Network as an Expansion Strategy: Robert Barry and the Development of Artist Relations of Galerie Paul Maenz in CologneStefano Agresti213 Infrastructural Economies in Post-Conceptual Film Practices of the 1970s and 1980s: The Example of the Neo-Narrative Essay FilmSabeth Buchmann229 Post-Gulf War Specifications in the German–US Art Exchange from a Munich Perspective, 1996–2001Dirk Snauwaert241 Plates257 About the Authors