Paul Greenhalgh is Director of the Sainsbury Centre for the Visual Arts at the University of East Anglia. His former roles include Director and President of the Corcoran Gallery of Art in Washington DC, President of NSCAD University in Canada, and Head of Research at the V&A Museum in London.

“an outstanding survey highly recommended for a range of collections, from general-interest to history and arts holdings. It packs in photos and in-depth details of the great world fairs and expositions, offering a coverage that provides details about each fair and its unique characteristics. The outstanding focus provides lively discussion of elements unique to each world fair, covering its features, promotion, attractions and impact on its audience. The drama and excitement of the fairs is captured in a fine oversized presentation packed with images and history!”- Midwest Book Review

• IntroductionThe Origin and Meaning of the Exposition Medium Exhibitions before Expos The Formation of the First Expositions Justifying Expositions Money, Politics and the Masses Money The British Organisational Model The French Way American Business Cold War Ways and Post-Modern Methods Politics and the Entertaining of the Masses Gender and Display: The Women’s Buildings The Myth and Reality of ProfitsImperial Display Britain's Exhibitions: Industry and Empire The European Empires on Display Japan’s Imperial Ambition American Expansion Human Show cases People as Entertainment Paris and the Growth of the Practice The British Displays Evolutionism and the Peopled Displays The Villages of America Consuming in the Streets of the World Ambassadors on Site National Profile Display and National Identity Frenchness Britain and England America and the Problem of the New Paris in 1937, New York in 1939 Pastiche, Boycott, and the Post-War World Designing an Ephemeral World Modernity, Design, Expo The Great Exhibition and High Victorian Design Design and the Poor The Example from Outside Architecture and Engineering Historicism and Art Nouveau Art Deco and the Modern Movement Space Age Modern, International Modern, Post-Modern The Meaning of Art Defining and Displaying the Fine Arts Beaux-Arts and Avant Garde: the French Displays British Art and the Expositions The Growth of American Art Art from Outside: Africa and Oceania After the WarPostscriptNotesIndexAcknowledgementsBibliography

Paul Greenhalgh is Director of the Sainsbury Centre for the Visual Arts at the University of East Anglia. His former roles include Director and President of the Corcoran Gallery of Art in Washington DC, President of NSCAD University in Canada, and Head of Research at the V&A Museum in London.

“an outstanding survey highly recommended for a range of collections, from general-interest to history and arts holdings. It packs in photos and in-depth details of the great world fairs and expositions, offering a coverage that provides details about each fair and its unique characteristics. The outstanding focus provides lively discussion of elements unique to each world fair, covering its features, promotion, attractions and impact on its audience. The drama and excitement of the fairs is captured in a fine oversized presentation packed with images and history!”- Midwest Book Review

• IntroductionThe Origin and Meaning of the Exposition Medium Exhibitions before Expos The Formation of the First Expositions Justifying Expositions Money, Politics and the Masses Money The British Organisational Model The French Way American Business Cold War Ways and Post-Modern Methods Politics and the Entertaining of the Masses Gender and Display: The Women’s Buildings The Myth and Reality of ProfitsImperial Display Britain's Exhibitions: Industry and Empire The European Empires on Display Japan’s Imperial Ambition American Expansion Human Show cases People as Entertainment Paris and the Growth of the Practice The British Displays Evolutionism and the Peopled Displays The Villages of America Consuming in the Streets of the World Ambassadors on Site National Profile Display and National Identity Frenchness Britain and England America and the Problem of the New Paris in 1937, New York in 1939 Pastiche, Boycott, and the Post-War World Designing an Ephemeral World Modernity, Design, Expo The Great Exhibition and High Victorian Design Design and the Poor The Example from Outside Architecture and Engineering Historicism and Art Nouveau Art Deco and the Modern Movement Space Age Modern, International Modern, Post-Modern The Meaning of Art Defining and Displaying the Fine Arts Beaux-Arts and Avant Garde: the French Displays British Art and the Expositions The Growth of American Art Art from Outside: Africa and Oceania After the WarPostscriptNotesIndexAcknowledgementsBibliography

Paul Greenhalgh is Director of the Sainsbury Centre for the Visual Arts at the University of East Anglia. His former roles include Director and President of the Corcoran Gallery of Art in Washington DC, President of NSCAD University in Canada, and Head of Research at the V&A Museum in London.

“an outstanding survey highly recommended for a range of collections, from general-interest to history and arts holdings. It packs in photos and in-depth details of the great world fairs and expositions, offering a coverage that provides details about each fair and its unique characteristics. The outstanding focus provides lively discussion of elements unique to each world fair, covering its features, promotion, attractions and impact on its audience. The drama and excitement of the fairs is captured in a fine oversized presentation packed with images and history!”- Midwest Book Review

• IntroductionThe Origin and Meaning of the Exposition Medium Exhibitions before Expos The Formation of the First Expositions Justifying Expositions Money, Politics and the Masses Money The British Organisational Model The French Way American Business Cold War Ways and Post-Modern Methods Politics and the Entertaining of the Masses Gender and Display: The Women’s Buildings The Myth and Reality of ProfitsImperial Display Britain's Exhibitions: Industry and Empire The European Empires on Display Japan’s Imperial Ambition American Expansion Human Show cases People as Entertainment Paris and the Growth of the Practice The British Displays Evolutionism and the Peopled Displays The Villages of America Consuming in the Streets of the World Ambassadors on Site National Profile Display and National Identity Frenchness Britain and England America and the Problem of the New Paris in 1937, New York in 1939 Pastiche, Boycott, and the Post-War World Designing an Ephemeral World Modernity, Design, Expo The Great Exhibition and High Victorian Design Design and the Poor The Example from Outside Architecture and Engineering Historicism and Art Nouveau Art Deco and the Modern Movement Space Age Modern, International Modern, Post-Modern The Meaning of Art Defining and Displaying the Fine Arts Beaux-Arts and Avant Garde: the French Displays British Art and the Expositions The Growth of American Art Art from Outside: Africa and Oceania After the WarPostscriptNotesIndexAcknowledgementsBibliography