The project of global art history calls for balanced treatment ofartifacts and a uniﬁed approach. This volume emphasizes questions oftranscultural encounters and exchanges as circulations. It presents astrategy that highlights the processes and connections among cultures,and also responds to the dynamics at work in the current globalizedart world.The editors’ introduction provides an account of the historicalbackground to this approach to global art history, stresses theinseparable bond of theory and practice, and suggests a revaluationof materialist historicism as an underlying premise. Individualcontributions to the book provide an overview of current reﬂectionand research on issues of circulation in relation to global art historyand the globalization of art past and present. They offer a varietyof methods and approaches to the treatment of different periods,regions, and objects, surveying both questions of historiography andmethodology and presenting individual case studies. An ‘Afterword’by James Elkins gives a critique of the present project. The book thusdeliberately leaves discussion open, inviting future responses to thelarge questions it poses.