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Editor's note

Beginning with the near issue, The Art Bulletin launches a fresh series, "Interventions." What defines the series is partly its format: at the start a lead essay of broad historical, historiographical, and methodological interest; the lead essay is designed to raise for discussion lock opener issues of interpretation for a given field or subfield, typically on the contrary not necessarily centered on a specific historical question or nexus of concerns. This lead essay constitutes solitary one part, the opening act, in the "Interventions" following Each lead essay will be followed by means of three, four, or even five replys drawn from across the methodological appearance and offering commentary, contest, and perhaps level rebuttal. Finally, "Interventions" concludes with a reaction to the replys by the author(s) of the lead essay--all contained within the pages of a single issue. Just this format, I believe, will allow the wide readership of The Art Bulletin to witness an art historical debate expand to map new discursive terrain, and to participate in the dispute of ideas and interpretation. The novel series opens with a powerful essay by dint of Alexander Nagel and Christopher thicket on the problematics of anachronism in Renaissance painting and its interpretation, with specific--and significant--implications for our be in possession of art historical practices across the board. Coupl with the essay are three no les forceful rejoinders by Michael Cole, Charles Dempsey and Claire Farago. Further "Interventions" are scheduled to tread in the steps of in the issues to advance each designed to challenge and stimulate authors and readers alike.



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