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Fifty years after its first edition, "Forme estetiche e società di massa" by Alberto Abruzzese remains a book to be read as a precious testimony of the crucial transition from a sociology of social subjects, in their political and economic relationships, to a sociology of the imaginary, in its contemporary communicative and relational declinations. Furthermore, is equally important and fruitful a rereading aimed at identifying further suggestions and orientations regarding the dialectic between hyperrealism and virtuality, in the cultural horizon of the digital revolution and today's mediamorphoses of values. The objective of this contribution lies precisely in the proposal of a philosophically and semiotically oriented rereading of some important chapters of the book in question, dedicated to the code switching involved in the procedures of monumentalisation. These are traditional procedures of decontextualization and spatiotemporal delocalization, which found an innovative and emphatic development especially in the context of the great nineteenth-century Exhibitions, but which still appear capable of highlighting, from an aesthetic and ethical point of view, some crucial phenomena of postmodernity: charismatic powers and political correctness, the fetishism of identity claims and the fickleness of media consumption. [ABSTRACT FROM AUTHOR]

The Complexity Science Hub Vienna is hosting an autophagy-based art exhibition that shows the artwork by Ayelen Valko and Dorotea Fracchiolla, two artists who are also scientists engaged in autophagy research. This exhibition, called "Autophagic landscapes: on the paradox of survival through self-degradation"—which will be open to the general public from January to May 2023—proposes a visual journey from entire organisms toward the interior of a single cell. The core ideas represented in the exhibited artworks are the molecular mechanisms and vesicular dynamics of autophagy-two phenomena that have been feeding the imagination of the two artists, inspiring the creation of art that depicts intriguing subcellular landscapes. Although the microscale bears very valuable aesthetic features, it is not a common subject in art. Correcting this is the main aim of this exhibition and of the two artists. [ABSTRACT FROM AUTHOR]

Copyright of Diálogo com a Economia Criativa is the property of Dialogo com a Economia Criativa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Hidalguía is the property of Revista Hidalguia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: The importance of photographs in social media, the steep rise in popularity of tattoos, and the prominence of individuals with visibly different skin in fashion are likely to be changing the landscape of self‐ and public perception of birthmarks. Study objectives were to assess the impact of a photoshoot and public exhibition on the self‐perception of individuals with extensive birthmarks, and to explore the viewing public's reactions. Methods: Thirty individuals with congenital melanocytic nevi (CMN) were recruited internationally. Each had a professional photoshoot portrait with their skin exposed, resulting in a public exhibition in London entitled "How do you C Me Now?" Participants/parents completed pre‐ and post‐questionnaires relating to self‐perception and the impact of their birthmarks on behavior. Over 8000 members of the public viewed the exhibition, 464 completing an on‐site questionnaire on its effects. Results: All participants/parents rated the experience as positive, valuable and helpful. Scores on self‐appreciation and self‐confidence were significantly higher after the photo shoot. Members of the general public overwhelmingly reported the exhibition increased their positive feelings towards people with birthmarks. The majority of public respondents also reported that the exhibition made them feel better about their own skin and about their looks in general. Conclusion: This unique exhibition and the associated research has provided a striking new perspective on potential psychological interventions for individuals with birthmarks. [ABSTRACT FROM AUTHOR]

Copyright of Studies of Lithuania's History is the property of Lietuvos Istorijos Studijos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Recherches en Sciences de Gestion is the property of ISEOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ukrainian women received military experience during the First and Second World Wars and in the contemporary Russian-Ukrainian War in services such as the Ukrainian Sich Riflemen (USS), the Ukrainian Galician Army (UGA), the Ukrainian Insurgent Army (UPA), the Soviet Army, and the Armed Forces of Ukraine (UAF). This paper analyzes the representations of Ukrainian women’s military experiences during the twentieth and twenty-first centuries in museum exhibitions in Lviv (a city in Western Ukraine). The authors conclude that the experiences of women veterans of the First and Second World Wars frequently remain neglected, creating an incomplete picture of the past and continuing to shape representations of women’s roles in the current Russian-Ukrainian War. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the architectural and exhibition concepts of the national pavilions of Lithuania, Latvia, Estonia, Belarus and Ukraine, which were created for the purposes of the World Expo exhibitions in the years 2000-2020 in the context of the promoted national image. After 1991 and the collapse of the USSR, the countries of Eastern Europe began the process of creating their own national images, in which the World Expo exhibitions became one of the most important platforms for international presentations. The article discusses selected exhibition strategies presented by these countries at six exhibitions: World Expo 2000 in Hanover, World Expo 2005 in Aichi, World Expo 2010 in Shanghai, World Expo 2015 in Milan and World Expo in Dubai 2020. The analysis of solutions was carried out from the perspective of searching for unique forms that distinguish the concepts of individual pavilions. The result of the research was the specification of the tendencies that distinguish pavilions of Eastern European countries from other solutions. [ABSTRACT FROM AUTHOR]

Today, exhibition activity is a relevant area of modern culture and development of society. Exhibitions have an important aesthetic, cultural, scientific, educational and philosophical mission. Organization of exhibitions is an important element of the activity of a teacher of labor education and technology. The article presents the characteristics of one of the most common forms of exhibitions - thematic. Exhibitions on military topics are now relevant and necessary, they contribute to the formation of national self-awareness, the formation of the worldview and value system of students, and carry a patriotic meaning. The generalized and systematized experience of building the thematic exhibition «Life will conquer death» in the Poltava Local History Museum named after Vasyl Krychevsky, which was housed in a military tent, consisted of artifacts of the war, volunteer aid given to the front, and personal belongings of the defenders, is presented. [ABSTRACT FROM AUTHOR]

Copyright of Legado de Arquitectura y Diseño is the property of Universidad Autonoma del Estado de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Legado de Arquitectura y Diseño is the property of Universidad Autonoma del Estado de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is a presentation of the results of research on the exhibition named The Power of the Museum, which took place at the National Museum in Krakow in 2020/2021. The exhibition became, for the authors, a case study conducted using the methodology of humanistic management. The aim of the analysis undertaken in the text is to show the museum and its employees as a learning organization in the situation of introducing an innovation, which was an exhibition organized in an innovative way for the institution. The authors focused on describing the new fields of knowledge activated in the team, including the education department, i.e., the curators of The Power of the Museum exhibition, the conservators, or the curators employed in this position. Mapping the implementation of new knowledge was also an important part of the research. The authors were interested in systemic and informal standards in the perception and use of educators' competences. They also addressed the problem of the formation of informal relationships and the generation of institutional trust in the exhibition implementation process. The authors adopted a perspective in which they were interested in the process of exhibition making, the shifts of responsibilities between museum departments, and, as a result, the creation of new individual, organizational, and systemic knowledge. With this optic, the article answers the research question of how to structurally open up exhibition work to continuous learning, not only at the level of the subject matter but of the exhibition staging process itself. In this respect, it is an innovative view not only from the perspective of the management of a museum institution but also fits into the broader field of museological reflection. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This review introduces the Illustrated Menagerie Augmented Reality Scavenger Hunt (IMARSH), a project merging extended reality (XR) with illustration for an immersive outdoor public exhibition. IMARSH aimed to reconnect individuals with nature through interactive animal-themed artworks, using XR to enhance engagement. The curated trail, part of the We Shine Portsmouth 2022 Festival, featured illustrations transformed into dynamic experiences with animation and sound. Key examples included artworks depicting endangered birds and highlighting ocean pollution. The article discusses technical aspects, audience engagement, and the potential of illustration and XR to deepen connections with nature. IMARSH serves as a pioneering initiative bridging art, technology and environmental awareness. [ABSTRACT FROM AUTHOR]

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Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One such place on Hawaiʻi island where the arts are being pushed into new directions is the Donkey Mill Art Center (DMAC), a community art center founded by the Hōlualoa Foundation for Arts and Culture (HFAC) and located in the town of Hōlualoa, in the ahupuaʻa (a type of Hawaiian land division) of Keauhou, in the moku (district) of North Kona. Although the institution’s name is unassuming, connoting the region’s coffee history and honoring the historic Donkey Mill that serves as the flagship building and campus of the organization, DMAC functions as a vital center of creative production in this part of Hawaiʻi island. Throughout the year, DMAC organizes classes, demonstrations, workshops, presentations, and most importantly for this review, exhibitions that celebrate various art mediums, including but not limited to ceramics, drawing, painting, printmaking, mixed media, fiber arts, metal works, photography, and Hawaiian arts. In 2020, Nā Māla: Layered Landscapes of Kona Coffee Heritage, was one of DMAC’s in-house exhibits, organized by Communications Director and Curator Mina Elison.

Introduction. Today, many university museums around the world are facing the need to revise the principles of their activities in order to fully integrate into the daily life of their educational institutions. The main functions for such museums are patriotic, image-building, educational, educational and career guidance. Modern challenges include attracting not only students and applicants, but also a wider audience. Challenges of introducing new technologies will make them more relevant to younger generation. However, without defining the main purpose of the museum’s existence, it is impossible to build a coherent path for its development.Purpose. To determine the basic principles of exhibition organisation and its placement in the structure of a university campus, depending on the nature of the museum and the image of the educational institution.Results. Using the example of museums of the world’s largest universities, the specifics of their location depending on specialisation, the correlation between the organization of space and the theme of the exhibition, the characteristics of exhibition equipment, the principles of placement of different types of expositions in the structure of campuses are determined.Conclusions. It has been found that when the university is image oriented towards history and traditions, the museums are located in historical buildings and have a more familiar spatial structure and principles exhibition organization. In the case of striving to demonstrate the innovative nature of the university, the priority is given to the placement in the most accessible and technologically advanced modern buildings. Exhibitions related to the current life of the university are housed in more light, versatile and democratic spaces. The latest trend is the active use of multimedia and interactivity.

В 2021 году Приморская государственная картинная галерея отметила свой 55-летний юбилей выставкой «Пятьдесят пять историй». Каждый из показанных экспонатов имел особенную историю: провенанса, реставрации, атрибуции и т. п. Так сотрудники галереи решили рассказать зрителям о внутренней жизни музея и хранящихся в нем предметах. Два черно-белых рисунка Ири Маруки (1901–1995) и Тоси Маруки (1912–2000), переданные в дар галерее, дали возможность рассказать об одной из первых экспозиций иностранных художников, состоявшейся во Владивостоке в 1990 году. Статья посвящена описанию выставки, подаренных Приморской галерее экспонатов, их места в творчестве художников, японском и мировом искусстве. Сведения о представленных в статье графических произведениях вводятся в научный оборот впервые. Актуальность этой работы обусловлена, с одной стороны, исследовательским интересом к недостаточно изученным процессам взаимовлияния японского и западноевропейского искусства, а с другой стороны, современным историко-культурным контекстом, в котором выставка японских художников Ири и Тоси Маруки в России представляется свидетельством нерушимых творческих связей двух стран, а ее тематика — напоминанием об истинных ценностях человечества.

Статья посвящена неизвестному рисунку Василия Ивановича Сурикова, обнаруженному в коллекции Красноярского краевого краеведческого музея. Несколько лет назад на негативах с видами выставки «Уголок В.И. Сурикова» 1916 и 1924 годов удалось рассмотреть неизвестный ранее рисунок, информация о котором отсутствует в каталогах работ художника. В 2019 году утерянный рисунок великого русского живописца обнаружен в фондах Красноярского краевого краеведческого музея. Работа В.И. Сурикова была неправильно атрибутирована, находилась среди графических произведений красноярского художника Дмитрия Иннокентьевича Каратанова и именно под авторством последнего был записана в учетные книги музея.

Иркутский областной художественный музей им. В.П. Сукачёва обладает тремя живописными работами русского художника В.И. Сурикова: этюд и эскиз к историческим полотнам «Переход Суворова через Альпы» (1899) и «Боярыня Морозова» (1887), а также акварельный портрет Г.А. Добринской (Ченцовой) (1911). Изучение московских, ленинградских, красноярских и иркутских изданий о В.И. Сурикове и его картинах показало, что обобщенное исследование истории бытования находящихся в Иркутске произведений не проводилось, сообщения о них носили фрагментарный характер с допущением фактических неточностей. В статье впервые на основе научного анализа публикаций и архивных документов обобщаются сведения о трех названных произведениях художника, поступивших в коллекцию Иркутского художественного музея в 1950–1969 годах. В ходе исследования установлены и уточнены данные о первоначальных и окончательных атрибуциях, первых и последующих репродукциях и экспонированиях этюда, эскиза и портрета.

The present article is a review of the book: Wieczorek A., Schenk G. J., Juneja M., Lind C. (Eds.) (2014), Human. Nature. Disaster. From Atlantis till today [in German], Schnell und Steiner, Regensburg, Germany, ISBN 978-3-7954-2880-8, 280 pages.

What should we do with the remnants of Nazism? Should we dispose of them? Is it acceptable to sell them at a flea market or on the internet? At what point does memory become nostalgia, or even illegal neo-Nazi activity? Objects related to Nazism get discovered in various places and contexts – whether in one’s own basement, at flea markets or an online portal, in the estate of relatives or even in the trash. Even if one’s own family history is not entangled with the Nazi regime, such finds trigger feelings ranging from shame to detachment and even fascination. The exhibition "Disposing of Hitler. Out of the Cellar, Into the Museum", House of Austrian History ("Hitler entsorgen. Vom Keller ins Museum", Haus der Geschichte Österreich) asks about the social responsibility in dealing with relics of Nazism and explores the question of how these things can strengthen democratic consciousness in the present.

The orchestra that participated in the opening ceremony of the New Zealand International Exhibition held in Christchurch in 1906 played a central role in signaling what officials described as "nationhood achieved," as the country marked its move from British colony to dominion. This contribution to nationhood was negotiated through acts of exclusion as well as empowerment, particularly in relation to gender and race. Exhibition officials sought to ban women from participation in the orchestra, demonstrating the tenacious rhetoric of masculinity prevalent in orchestras of the period. Although women eventually overcame this ban, New Zealand's Indigenous Māori population remained barred from self-representation on the exhibition stage, instead performing their culture as ethnological entertainment beyond the concert hall. At the exhibition's opening ceremony, it was the orchestra that represented Māori; in the third movement of the Exhibition Ode composed for the event by the orchestra's conductor, New Zealand composer Alfred Hill, the orchestra performed "in the time of a haka" (Māori war dance). Drawing on an examination of archival material pertaining to the exhibition and analysis of the haka movement, this article argues that the performance of Hill's haka movement by both women and men in the exhibition orchestra was an act of "brownface" in which the empowerment of the white women of the orchestra was complicated by questions of appropriation and assimilation. Examining the haka movement as event and score illuminates both the role of women in colonial cultures and the colonizing practices of orchestras themselves. [ABSTRACT FROM AUTHOR]

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1928, the airship Italia, commanded by Umberto Nobile, crashed on the way back from the North Pole. The tragic outcome of his expedition interrupted the organization of significant Arctic explorations and generated a fracture between Mussolini's regime and polar studies. The Fascist regime implicitly expressed its shame for its role in the whole unfortunate expedition and the subject became taboo in the entire country. Almost ten years later, in 1937, Norway invited all countries that had previously undertaken polar expeditions to participate in the first International Polar Exhibition (Internasjonal utstilling for polarforskning), planned to be held from May 1940. Considering the polemics after the 1928 Arctic expedition, the Norwegians' eager efforts to solicit Italy's participation in the exhibition may appear surprizing. Therefore, this work aims to better understand these dynamics, seeing the uncertainties surrounding Italy's participation in the polar exhibition in light of Nobile's pivotal role in the organization of Fascist Italy's polar explorations. [ABSTRACT FROM AUTHOR]

This article challenges the assumption in a classical sociology of art that artworks are created in the artist's studio as independent and self-sufficient objects. Given that artistic production merges with exhibition making in contemporary art, I argue that the production of artworks needs to be situated in the exhibition space. In this institutional and physical environment, a set of scenographic principles dominate. Scenography is an ideology and method for exhibition making that emphasises the audience's experience of the exhibition as a coherent entity. In the exhibition context, therefore, artworks are produced as an integral part of the scenography. Drawing upon six cases of solo exhibitions in museums and galleries, I reveal how the material, conceptual, and experiential features of artworks are shaped by scenographic considerations. The six cases also demonstrate the variations in the production of contemporary art. This article further develops the sociology of art in three ways. First, I show a middle way between the classical sociology of art and the recent material turn in cultural sociology. While the former explains artworks as social products but often fails to show the direct impact of social factors on features of artworks, the latter prioritises the agency of artworks qua artistic features but take these as given. Through the concept of scenography, I explain the social genesis of artistic features without prioritising human or non-human actors. Second, I call more attention to the dialogue with art history, especially its turns towards exhibitions for apprehending new developments in art. Third, the hybrid practices in visual art extend our understanding of artistic mediation as art itself, which becomes more applicable to different genres of art. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main goal of the project is to create an interactive exhibition, innovative and technological in its approach, that aims to create awareness and promote the knowledge of the Sustainable Development Goals of the Agenda ONU 2030 - in particular, on the value of social and environmental sustainability. 178 Countries adopted a common agenda to preserve our planet for the first time in 1992, during the Rio de Janeiro Summit. From that moment, the concept of sustainability has changed forever and has been changing ever since. In this paper, after understanding the state of the art in the field of the interactive exhibition, it is going to be explained how the methodology is applied in order to evolve from a desk and field analysis to a concept definition. These key points will then help define the concept in the shape of an operative strategy with methodological guidelines and a structured solution. From this stage, a few considerations on the future of this proposal can be drawn. [ABSTRACT FROM AUTHOR]

The first monograph on Mies van der Rohe was published in 1947 to coincide with the exhibition curated by Philip Johnson at MoMA in New York. Although this exhibition has been considered by critics as the first to present Mies's work exclusively, new documents reveal that in December 1938 the "Exhibition of Architecture by Miës van der Rohe" opened at the Art Institute of Chicago (AIC), which included drawings, photographs and models from his European period. This article aims to present this monographic exhibition by graphically analysing the material that has remained unpublished until now: seven photographs in the archives of the University of Michigan and a press release in the AIC Archives Research Center. The three-dimensional survey provided details the architecture on display, and compares it with the American exhibitions that preceded and followed it (1932 and 1947), both organised by MoMA. [ABSTRACT FROM AUTHOR]

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Constelaciones (2340-177X) is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article contributes to shedding light, documenting, and disseminating a pioneer event that has not been part of the recorded history of urban planning. In 1991, two feminist engineers working at the City of Vienna's Urban Planning Office organized a ground-breaking exhibition with the aim of understanding gender bias in urban design. The event exceeded their prospects in an unanticipated way. Since 1991, the City of Vienna led the way to the conceptualization of gender mainstreaming that was happening at the European level – and that did not take place until 1997, when the Amsterdam Treaty came into effect. In 1992, the City of Vienna established the Women's Office, with authority in urban affairs. Paradoxically, the success of the exhibition did not allow the organizers to properly document and preserve it, nor was it conserved in the City's Archive. This unprecedented research relies on unreleased archival material gathered from the personal archives of the exhibition's photographers, as well as from ad-hoc interviews with the organizers, Jutta Kleedorfer and Eva Kail. Thirty years later, the City of Vienna is known for this approach to urban planning. The exhibition 'Who Owns Public Spaces? Women's Everyday Life in the City' was the turning point. [ABSTRACT FROM AUTHOR]

This article describes Picasso's first visit to the French capital in 1900, and the events that led to his first major exhibition at the acclaimed Galerie Ambroise Vollard in Paris in 1901. The first section provides a narrative of his early experiences abroad as a young unknown artist, his influences, and the contacts he established with friends, artists and dealers during this important period of his career; the second section traces the histories of the sixty-five artworks that were exhibited, identifying the collections those items went through after they were exhibited, their current locations, as well as the exhibitions in which they have been featured since Vollard first displayed them in his gallery. The last section elaborates on some of the immediate repercussions of the exhibition. The reported findings are the result of extensive research on hundreds of books and catalogs published on Pablo Picasso from 1901 to the present. The new facts we have uncovered are published here for the first time. Readers of the article will learn that the works included in Picasso's first exhibition in France have been part of the most prestigious art collections, such as those of Justin K. Thannhauser, Gertrude Stein, Chester Dale, Paul Guillaume, Walter P. Chrysler, Jr., Paul Mellon, Helena Rubinstein, Alfred Flechtheim, Walter C. Arensberg, among others. The works have also been featured in such important overviews of his career as "Picasso, 75th Anniversary" 1957–1958, and "Picasso: An American Tribute", 1962. Thus, while Vollard claimed that the exhibition at his gallery had no major impact, the facts show that it not only played an important role in Picasso's acceptance as a groundbreaking newcomer, but also left a significant mark on the rest of his career, as evidenced by the works' inclusion in the retrospectives held in Paris and Zürich in 1932, and New York in 1980. [ABSTRACT FROM AUTHOR]