ABSTRACT
Over the past two decades there has been a growing interest in the exploration of “transnational history”. This work has focused in general on understanding the “movement, ebb and circulation” of ideas across borders and in particular on the introduction, transmission, reception and appropriation of ideas through the process of cultural transfer.1 This interest in the transnational and cultural transfer at the same time has been paralleled by an increasing use of spatialised approaches to understand the making and maintenance of knowledge and the influence in particular of geographies of texts, talk and testimony.2 Historians in recent years, whether operating within a “transnational” or a “spatial” paradigm, have given increasing attention to the role of exhibitions in the circulation of ideas and practices and to the power of the visual in carrying knowledge across borders.3
