This innovative study of two of the most important artists of the twentieth century links the art practices of Allan Kaprow and Robert Smithson in their attempts to test the limits of art - both what it is and where it is. Ursprung provides a sophisticated yet accessible analysis, placing the two artists firmly in the art world of the 1960s as well as in the art historical discourse of the following decades. Although their practices were quite different, they both extended the studio and gallery into desert landscapes, abandoned warehouses, industrial sites, train stations, and other spaces. Ursprung bolsters his argument with substantial archival research and sociological and economic models of expansion and limits.

At the end of World War II, the US Office of Military Government for Germany and Bavaria, through its Monuments, Fine Arts, and Archives division, was responsible for the repatriation of most of the tens of thousands of artworks looted by the Nazis in the countries they had occupied. With the help of the US Army's Monuments Men-the name given to a hand-picked group of art historians and museum professionals commissioned for this important duty-massive numbers of objects were retrieved from their wartime hiding places and inventoried for repatriation. Iris Lauterbach's fascinating history documents the story of the Allies' Central Collecting Point (CCP), set up in the former Nazi Party headquarters at Koenigsplatz in Munich, where the confiscated works were transported to be identified and sorted for restitution. This book presents her archival research on the events, people, new facts, and intrigue, with meticulous attention to the official systems, frameworks, and logistical and bureaucratic enterprise of the Munich CCP in the years from 1945 to 1949. She uncovers the stories of the people who worked there at a time of lingering political suspicions; narrates the research, conservation, and restitution process; and investigates how the works of art were managed and returned to their owners.