Positing the Cold War as a globalized con?ict, fraught with di?erent political ideologies and intercultural exchanges, this study asks how these historical circumstances shaped local debates in Beirut over artistic pedagogy, the social role of the artist, the aesthetics of form, and, ultimately, the development of a national art. Drawing on a range of archival material and taking an interdisciplinary approach, Sarah Rogers argues that the genealogies of modern art can never be understood as isolated, national histories, but rather that they participate in an ever contingent global modernism.

This book will be of particular interest to scholars in art history, Cold War studies, and Middle East studies.