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	For history of exhibitions. Retro-perspective, archive and migration of forms Císař, Karel In her 'View of Modernism,' the groundbreaking study from 1972, Rosalind Krauss takes on the work of the critic Clement Greenberg. Forty years later, Krauss' Under Blue Cup (2011) challenges Catherine David, the curator of documenta X. This change in Krauss's choice of opponents is not incidental and testifies to the widening of art-historical research. David approached the documenta X exhibition (1997) as a cinematographic sequence of artworks, questioning the 'white cube' of the traditional museum and the politics of identity, which Krauss's book defends. The fact that Krauss decided to test her views against a curator rather than a fellow critic or art historian is even more significant. It shows the transformation of art, a process which Krauss herself helped to bring about in the 1970s. As the artwork gave up on the specificity of its means of expression and started opening up to external conditions, the importance of individual artworks weakened in favour of the exhibition as a whole. This is one of the reasons why the history of contemporary art has increasingly become a history of exhibitions rather than a history of styles and individual artworks. Detailed record
	Nation and its style Hnídková, Vendula Detailed record
	Functional arrangements characteristic of medieval nuns´ churches: an example of two preserved Czech Dominican churches Mezihoráková, Klára The study confronts the Dominican regulations with the preserved medieval architecture of two Dominican nuns´churches - the Church of St. Catherine in Olomouc and the Church of St. Anne in Prague´s Old Town - and argues that it is necessary to perceive the monastic nuns´church not only as an aesthetical artefact but also as functional whole. Detailed record

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