MarÍa FernÁndez is Associate Professor of Art History at Cornell University. Her work has appeared in journals and edited volumes, including The Art of Art History: A Critical Anthology, The Feminism and Visual Culture Reader, Hacia otra historia del arte en MÉxico: La amplitud del modernismo y la modernidad (1861–1920), and At a Distance: Precursors to Art and Activism on the Internet.

The sweep of FernÁndez's study is ambitious, and her ability to navigate discourses and archival materials from so many periods and in several languages is impressive. (Latin American Research Review)

• AcknowledgmentsIntroductionChapter 1. Vernacular Cosmopolitanism: Sigüenza y Góngora's Teatro de Virtudes PolíticasChapter 2. Castas, Monstrous Bodies, and Soft BuildingsChapter 3. Experiments in the Representation of National Identity: The Pavilion of Mexico in the 1889 Universal Exposition in Paris and the Palacio de Bellas ArtesChapter 4. Of Ruins and Ghosts: The Social Functions of Pre-Hispanic Antiquity in Nineteenth-Century MexicoChapter 5. Traces of the Past: Reevaluating Eclecticism in Nineteenth-Century Mexican ArchitectureChapter 6. Visualizing the Future: Estridentismo, Technology, and ArtChapter 7. Re-creating the Past: Ignacio Marquina's Reconstruction of the Templo Mayor de TenochtitlanChapter 8. Transnational Culture at the End of the Millennium: Rafael Lozano-Hemmer's "Relational Architectures"Conclusion NotesReferencesIndex

MarÍa FernÁndez is Associate Professor of Art History at Cornell University. Her work has appeared in journals and edited volumes, including The Art of Art History: A Critical Anthology, The Feminism and Visual Culture Reader, Hacia otra historia del arte en MÉxico: La amplitud del modernismo y la modernidad (1861–1920), and At a Distance: Precursors to Art and Activism on the Internet.

The sweep of FernÁndez's study is ambitious, and her ability to navigate discourses and archival materials from so many periods and in several languages is impressive. (Latin American Research Review)

• AcknowledgmentsIntroductionChapter 1. Vernacular Cosmopolitanism: Sigüenza y Góngora's Teatro de Virtudes PolíticasChapter 2. Castas, Monstrous Bodies, and Soft BuildingsChapter 3. Experiments in the Representation of National Identity: The Pavilion of Mexico in the 1889 Universal Exposition in Paris and the Palacio de Bellas ArtesChapter 4. Of Ruins and Ghosts: The Social Functions of Pre-Hispanic Antiquity in Nineteenth-Century MexicoChapter 5. Traces of the Past: Reevaluating Eclecticism in Nineteenth-Century Mexican ArchitectureChapter 6. Visualizing the Future: Estridentismo, Technology, and ArtChapter 7. Re-creating the Past: Ignacio Marquina's Reconstruction of the Templo Mayor de TenochtitlanChapter 8. Transnational Culture at the End of the Millennium: Rafael Lozano-Hemmer's "Relational Architectures"Conclusion NotesReferencesIndex

MarÍa FernÁndez is Associate Professor of Art History at Cornell University. Her work has appeared in journals and edited volumes, including The Art of Art History: A Critical Anthology, The Feminism and Visual Culture Reader, Hacia otra historia del arte en MÉxico: La amplitud del modernismo y la modernidad (1861–1920), and At a Distance: Precursors to Art and Activism on the Internet.

The sweep of FernÁndez's study is ambitious, and her ability to navigate discourses and archival materials from so many periods and in several languages is impressive. (Latin American Research Review)

• AcknowledgmentsIntroductionChapter 1. Vernacular Cosmopolitanism: Sigüenza y Góngora's Teatro de Virtudes PolíticasChapter 2. Castas, Monstrous Bodies, and Soft BuildingsChapter 3. Experiments in the Representation of National Identity: The Pavilion of Mexico in the 1889 Universal Exposition in Paris and the Palacio de Bellas ArtesChapter 4. Of Ruins and Ghosts: The Social Functions of Pre-Hispanic Antiquity in Nineteenth-Century MexicoChapter 5. Traces of the Past: Reevaluating Eclecticism in Nineteenth-Century Mexican ArchitectureChapter 6. Visualizing the Future: Estridentismo, Technology, and ArtChapter 7. Re-creating the Past: Ignacio Marquina's Reconstruction of the Templo Mayor de TenochtitlanChapter 8. Transnational Culture at the End of the Millennium: Rafael Lozano-Hemmer's "Relational Architectures"Conclusion NotesReferencesIndex