This book examines the use, status and context of Italian Renaissance plaquettes, whether they were articles for personal adornment, liturgical objects, domestic artefacts, or models for architecture and painting.

This book responds to the increase in live art programmed in many galleries and museums. The essays challenge the exclusion of live art from the the art history canon and explore participation, interactivity, digital and performative practices as presented in gallery spaces. Contributors include curators, academic scholars and practicing artists.