ABSTRACT
This chapter looks at some of the ways national art is constructed in these galleries. It focuses on however, not internationalism but the construction and representation of national art. The National Gallery does display national art but in an international setting and in doing so it has the potential to build relationships to practices overseas. Tate Britain shows a different response to the contemporary British context. In 2005, it launched Tate Encounters: Britishness and Visual Culture, arguing that the gallery had been repurposed from cultural warder to regeneration catalyst and social agent. The Museo Nacional de Bellas Artes in Havana, for example, was reinvigorated by the Cuban Revolution of 1959. The Latvian National Museum of Art rewrote its art history following its escape from Russian rule in 1991. These developments follow and repeat those that accompanied feminist critiques of gender imbalance in.
