Brzyski provides a useful methodological approach for those analyzing the definitions and reception of non-Western and Eastern European Cold War and contemporary art. Her discussion of conventional Western interpretations of Chinese contemporary art is particularly productive since she points to blind spots in curatorial and scholarly approaches, among them: the dissonance between Eurocentric temporalities of “modernism” and the “contemporary;” the lack of attention to China’s system of artistic education (which leads to a representation of contemporary art abroad that omits the continued presence of ink painting and printmaking, and figurative art in art schools); or the need to examine art in China alongside art of the Eastern Bloc. (MMB)