7 Preface11 IntroductionValérie Mavridorakis23 Rauschenberg’s Bed (1955) and II. Documenta (1959): Histoire Croisée of a Transatlantic ConundrumGregor Stemmrich47 “If It Is Possible, It Is Best If You Bring Your Work Yourself”: Infrastructure, Logistics, and Production at documentaFelix Vogel63 Artists, Critique, and the New York–Cologne Axis in the 1980s and 1990sAlexander Alberro79 Must Art Hang? Critical Ambivalence in Andrea Fraser’s Exhibitions at Galerie Christian NagelAlexander Streitberger103 Think-Crazy. Charles Simonds’s Exhibition at Jürgen Schweinebraden’s EP Galerie in East Berlin: Notes on a Cooperation Between a Private Art Institution in the GDR and the DAAD Artists-in-Berlin Program in West BerlinNóra Lukács121 Belated Recognition: Critical Reception of East German Art in the United States Around 1990Gregory H. Williams133 Franz Erhard Walther in New YorkErik Verhagen147 Schütte’s Amerika (1975): A Nietzschean Critique of US Conceptualism in DüsseldorfStefaan Vervoort165 Between Rhine–Ruhr and Rust Belt: Industrial Transnationalism in Reinhard Mucha’s The Wirtschaftswunder, To the People of PittsburghAlthea Ruoppo183 Charles W. White in East Berlin: Progressive Art History and the Limits of Socialist Solidarity in the German Democratic Republic, 1951–1978Claudia Mesch197 Network as an Expansion Strategy: Robert Barry and the Development of Artist Relations of Galerie Paul Maenz in CologneStefano Agresti213 Infrastructural Economies in Post-Conceptual Film Practices of the 1970s and 1980s: The Example of the Neo-Narrative Essay FilmSabeth Buchmann229 Post-Gulf War Specifications in the German–US Art Exchange from a Munich Perspective, 1996–2001Dirk Snauwaert241 Plates257 About the AuthorsThe artistic, cultural, and institutional exchanges between West and East Germany and the United States during the Cold War.Throughout the Cold War era, a sustained and intense dialogue developed between both the West and East German and the North American art scenes on artistic, socio-cultural, institutional and economic levels. Entangled Art Histories offers new insights into the complex and intertwined transatlantic networks that gradually emerged in the wake of movements such as Pop Art, Minimalism and Conceptualism, involving artists, museums, galleries, curators, critics, and the art market.The essays in this volume, written by internationally renowned scholars, address key issues ranging from travel and infrastructure to East-West cultural policy during the Cold War. By exploring the exhibition strategies, controversial receptions and geopolitical concerns of these entangled histories, this book contributes to a better understanding of the dynamic interplay between artists, galleries, and museums from a transnational perspective.Throughout the Cold War era, a sustained and intense dialogue developed between both the West and East German and the North American art scenes on artistic, socio-cultural, institutional and economic levels. Entangled Art Histories offers new insights into the complex and intertwined transatlantic networks that gradually emerged in the wake of movements such as Pop Art, Minimalism and Conceptualism, involving artists, museums, galleries, curators, critics, and the art market.The essays in this volume, written by internationally renowned scholars, address key issues ranging from travel and infrastructure to East-West cultural policy during the Cold War. By exploring the exhibition strategies, controversial receptions and geopolitical concerns of these entangled histories, this book contributes to a better understanding of the dynamic interplay between artists, galleries, and museums from a transnational perspective.