Caterina Preda is Associate Professor at the Department of Political Science, University of Bucharest.Magdalena Radomska is Assistant Professor at Adam Mickiewicz University in Poznań, Poland.

• Part 1 Plural Geographies of East-Central European Art 1. Plural Geography(ies): Between Class Division and Relations of Production 2. Discontinuity. Considering East-Central Europe as a Discontinuous Space 3. Points East: The Geo-Epistemology of East European Art through Conference History 4. Capitalism, Geographies, the Racial/Colonial, and the Imperial/Colonial Divide Part 2 Multiple Geographies – Non-hierarchical, Flexible Mapping, and Non-mapping 5. Plurimodern Constellations: Scales of Analysis in the Spatial History of Art 6. The Hegemonic Gaze and East-Central Europe: Challenging the Totalitarian Paradigm 7. The Arts of Mapping (East Central) Europe and David Černý’s Entropa 8. A Shift from the Geopolitics of Place to the Chronopolitics of Time in East-Central Europe? Part 3 Geographies of Peripheral Solidarity 9. The Alternative Geography of Socialist Cultural Internationalism: Transregional Artistic Solidarity between East-Central Europe and Latin America 10. Black Masks White Skin: Self-Identification with Africa in the Polish Culture during Late Socialism 11. From Postsocialist Geographies to Late Socialist Networks: The Role of Cultural Exchange with Non-Aligned Countries in Croatia and Yugoslavia 12. Transnational Zones for Museums and Archives between Latin America and Eastern Europe Part 4 Geographies of "Strategic Essentialism" 13. Inside the Trans/National: Feminist Geographies of Close Otherness in the Art of East-Central Europe 14. An Art History of Place 15. Atemporal Histories and the Geographies of East-Central Europe, or Why Have There Been No Great Moldovan (Performance) Artists? 16. A Different Narrative of Nonalignment? The Case of Socialist Albania in the Art History and Geography of East-Central Europe

Caterina Preda is Associate Professor at the Department of Political Science, University of Bucharest.Magdalena Radomska is Assistant Professor at Adam Mickiewicz University in Poznań, Poland.

• Part 1 Plural Geographies of East-Central European Art 1. Plural Geography(ies): Between Class Division and Relations of Production 2. Discontinuity. Considering East-Central Europe as a Discontinuous Space 3. Points East: The Geo-Epistemology of East European Art through Conference History 4. Capitalism, Geographies, the Racial/Colonial, and the Imperial/Colonial Divide Part 2 Multiple Geographies – Non-hierarchical, Flexible Mapping, and Non-mapping 5. Plurimodern Constellations: Scales of Analysis in the Spatial History of Art 6. The Hegemonic Gaze and East-Central Europe: Challenging the Totalitarian Paradigm 7. The Arts of Mapping (East Central) Europe and David Černý’s Entropa 8. A Shift from the Geopolitics of Place to the Chronopolitics of Time in East-Central Europe? Part 3 Geographies of Peripheral Solidarity 9. The Alternative Geography of Socialist Cultural Internationalism: Transregional Artistic Solidarity between East-Central Europe and Latin America 10. Black Masks White Skin: Self-Identification with Africa in the Polish Culture during Late Socialism 11. From Postsocialist Geographies to Late Socialist Networks: The Role of Cultural Exchange with Non-Aligned Countries in Croatia and Yugoslavia 12. Transnational Zones for Museums and Archives between Latin America and Eastern Europe Part 4 Geographies of "Strategic Essentialism" 13. Inside the Trans/National: Feminist Geographies of Close Otherness in the Art of East-Central Europe 14. An Art History of Place 15. Atemporal Histories and the Geographies of East-Central Europe, or Why Have There Been No Great Moldovan (Performance) Artists? 16. A Different Narrative of Nonalignment? The Case of Socialist Albania in the Art History and Geography of East-Central Europe

Caterina Preda is Associate Professor at the Department of Political Science, University of Bucharest.Magdalena Radomska is Assistant Professor at Adam Mickiewicz University in Poznań, Poland.

• Part 1 Plural Geographies of East-Central European Art 1. Plural Geography(ies): Between Class Division and Relations of Production 2. Discontinuity. Considering East-Central Europe as a Discontinuous Space 3. Points East: The Geo-Epistemology of East European Art through Conference History 4. Capitalism, Geographies, the Racial/Colonial, and the Imperial/Colonial Divide Part 2 Multiple Geographies – Non-hierarchical, Flexible Mapping, and Non-mapping 5. Plurimodern Constellations: Scales of Analysis in the Spatial History of Art 6. The Hegemonic Gaze and East-Central Europe: Challenging the Totalitarian Paradigm 7. The Arts of Mapping (East Central) Europe and David Černý’s Entropa 8. A Shift from the Geopolitics of Place to the Chronopolitics of Time in East-Central Europe? Part 3 Geographies of Peripheral Solidarity 9. The Alternative Geography of Socialist Cultural Internationalism: Transregional Artistic Solidarity between East-Central Europe and Latin America 10. Black Masks White Skin: Self-Identification with Africa in the Polish Culture during Late Socialism 11. From Postsocialist Geographies to Late Socialist Networks: The Role of Cultural Exchange with Non-Aligned Countries in Croatia and Yugoslavia 12. Transnational Zones for Museums and Archives between Latin America and Eastern Europe Part 4 Geographies of "Strategic Essentialism" 13. Inside the Trans/National: Feminist Geographies of Close Otherness in the Art of East-Central Europe 14. An Art History of Place 15. Atemporal Histories and the Geographies of East-Central Europe, or Why Have There Been No Great Moldovan (Performance) Artists? 16. A Different Narrative of Nonalignment? The Case of Socialist Albania in the Art History and Geography of East-Central Europe