Brzyski’s essay provides a useful framework to analyze the evolution of art historical canons. She argues that scholars need to interrogate the mechanisms through which often unquestioned hierarchies of artistic value are created by art historians and curators. In other words, she calls for the study of “the mechanics of the canonical system: how and where canons are formed, by whom and why, how they function under particular circumstances, how they are maintained and why they may undergo change.” (p. 3) Such analysis must take into account the “existence of multiple, historically situated canonical formations.” (p. 3) (MMB)