With a historical and critical perspective, this collective volume examines the post-war institutional framework for art in Greece from the end of World War II to the present day. Its authors, twelve Greek art historians, illuminate key themes and discussions, revealing how, by whom, and when the common assumptions about what is interesting, what is worth exhibiting, or what is regarded as a significant work of art were formed—things that have now become a certainty.

Their writings reflect the aspirations and anxieties of the protagonists of both history and the present, the conflicting opinions and intermediate spaces, the theoretical frameworks that were used and sometimes misinterpreted, as well as the pathways to the final result, which in some cases seems obvious today.

The first thematic unit of the book is more chronologically defined, focusing on the early post-war decades. Specifically, it examines the propaganda exhibitions that attempted to shape a positive image for the new political orientation of the country within the context of the Cold War (Evi Papadopoulou), the efforts of the School of Fine Arts to incorporate applied arts into its curriculum (Christina Dimakopoulou), the exhibitions of Greek artists on the cruise ship Olympia (Anni Malama), as well as the construction of a linear narrative for the art history of the modern Greek state (Lefteris Spyrou).

The collective or state policies in public and private bodies for art in Greece that significantly changed their operational status or were established during the post-war period is the subject of the second unit of texts. This includes the case of the reorganization and modernization of the Artistic Professional Chamber (Spyros Moschonas), the early years of operation of the National Museum of Contemporary Art (Tina Pandis), the efforts for institutional recognition and the establishment of a photography museum in Greece (Iro Katsaridou), as well as the institutional actions of the Ministry of Culture for contemporary artistic creation (Ani Kontogiorgi).

In the third and final section of the book, the texts focus exclusively on contemporary visual practices, as well as the broader institutional framework for contemporary art. Thus, it examines the involvement of private individuals and legal entities in the production and dissemination of contemporary art (Eirini Geroyanni, Louisa Avgyta), and the ideological directions and practices concerning visual installations and moving images (Aretí Adamopoulou, Maro Psyra).

Aretí Adamopoulou is a professor of art history at the University of Ioannina.