ABSTRACT
This conclusion presents some closing thoughts discussed in the preceding chapters of this book. The book joins the interpretation of collections of Cultural Revolution-era visual culture to the wider socio-political context the Sino-British relationship and popular imaginings of China in Britain. It examines the British museological representations of Cultural Revolution-era China through the collection, interpretation and display of Chinese art of that period in Britain. The British Museum, in its philosophical position as a universal museum with its roots in the twin disciplines of archaeology and anthropology, has treated the artefacts of the Cultural Revolution rather differently, emphasising their value as objects of documentary evidence and for what they can reveal about the socio-political context of their production. The China Poster Collection at the University of Westminster has trod a different path to that of its national museum counterparts; it straddles art/artefact interpretations and develops a multidisciplinary approach towards the reading of Cultural Revolution visual culture.
