In the decades after the Second World War and after the diaspora of German and Jewish art historians, art history came to flourish as never before in the United States and in Britain. And yet the tradition of German art history that it seemed to have brought with it had irrevocably changed. One of the changes was the loss of the close interdependent relationship between the study of architecture and the study of art, one that went beyond the level of artists who made architecture or architects who made art, and instead was embedded deep within the most ambitious claims that art history could make as a serious form of cultural and historical study. And yet this nexus, as we have called it, dissipated and dissolved without crisis and with little apparent discussion, while the continuity or reevaluation of other aspects of the German tradition were intensely contested and debated...
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