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This issue contains four very different articles that explore the ways in which artists, writers, conservators and galleries have acted in response to constraints and pressures, be they political, material or self-imposed. Covering a broad range of artistic practices from the 1950s to present day, these papers cast a spotlight on the institutional conditions that shape the production, exhibition and conservation of art, from the US State Department’s sponsorship of abstract expressionism, to the contemporary collecting practices of international museums.