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The excellent exhibition catalogue essay co-authored by J. Keith Wilson and Daisy Yiyou Wang . . . traces the route by which the sculptures first came to the attention of foreign collectors and museums. The sobering observation is made that a scholarly publication . . . was unintentionally culpable for making archaeological sites across China known not only to scholars but also to art dealers and collectors. Happily, the initiative of the Xiangtangshan Caves Project appears to have had the opposite effect, being well positioned to inspire similar projects and collaboration. . . . Other essays in the lavishly illustrated exhibition catalogue cover the historical and religious background of the Northern Qi, visual culture and architecture, as well as the use of digital and exhibition technology. -- CAA Reviews Regret and hope alike run through the multifaceted exhibition. . . .The show is, at heart, a salvage operation, an effort -- and a moving one -- to reassemble a specific body of art now scattered, revivify a place of origin beaten down by depredation, and point to a plausibly upbeat future. In important ways it meets these goals and reboots history.--Holland Cotter The New York Times, on the Echoes of the Past Exhibition

Regret and hope alike run through the multifaceted exhibition. . . .The show is, at heart, a salvage operation, an effort -- and a moving one -- to reassemble a specific body of art now scattered, revivify a place of origin beaten down by depredation, and point to a plausibly upbeat future. In important ways it meets these goals and reboots history. --Holland Cotter The New York Times, on the Echoes of the Past Exhibition

"""The excellent exhibition catalogue essay co-authored by J. Keith Wilson and Daisy Yiyou Wang . . . traces the route by which the sculptures first came to the attention of foreign collectors and museums. The sobering observation is made that a scholarly publication . . . was unintentionally culpable for making archaeological sites across China known not only to scholars but also to art dealers and collectors. Happily, the initiative of the Xiangtangshan Caves Project appears to have had the opposite effect, being well positioned to inspire similar projects and collaboration. . . . Other essays in the lavishly illustrated exhibition catalogue cover the historical and religious background of the Northern Qi, visual culture and architecture, as well as the use of digital and exhibition technology.""-- ""CAA Reviews"" Regret and hope alike run through the multifaceted exhibition. . . .The show is, at heart, a salvage operation, an effort -- and a moving one -- to reassemble a specific body of art now scattered, revivify a place of origin beaten down by depredation, and point to a plausibly upbeat future. In important ways it meets these goals and reboots history.--Holland Cotter ""The New York Times, on the Echoes of the Past Exhibition"""

Regret and hope alike run through the multifaceted exhibition. . . .The show is, at heart, a salvage operation, an effort and a moving one to reassemble a specific body of art now scattered, revivify a place of origin beaten down by depredation, and point to a plausibly upbeat future. In important ways it meets these goals and reboots history. --Holland Cotter The New York Times, on the Echoes of the Past Exhibition

""Regret and hope alike run through the multifaceted exhibition. . . .The show is, at heart, a salvage operation, an effort -- and a moving one -- to reassemble a specific body of art now scattered, revivify a place of origin beaten down by depredation, and point to a plausibly upbeat future. In important ways it meets these goals and reboots history.""--Holland Cotter ""The New York Times, on the Echoes of the Past Exhibition"" ""The excellent exhibition catalogue essay co-authored by J. Keith Wilson and Daisy Yiyou Wang . . . traces the route by which the sculptures first came to the attention of foreign collectors and museums. The sobering observation is made that a scholarly publication . . . was unintentionally culpable for making archaeological sites across China known not only to scholars but also to art dealers and collectors. Happily, the initiative of the Xiangtangshan Caves Project appears to have had the opposite effect, being well positioned to inspire similar projects and collaboration. . . . Other essays in the lavishly illustrated exhibition catalogue cover the historical and religious background of the Northern Qi, visual culture and architecture, as well as the use of digital and exhibition technology.""-- ""CAA Reviews""

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Katherine R. Tsiang is associate director of the Center for the Arts of East Asia at the University of Chicago.

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