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Today the word survey can scarcely be understood apart from the writings of Michel Foucault, apart from his linkage of the overarching gaze and power, and apart from institutions and discourses that create subjects through their exercise of power.1 The discipline of art history has defined the survey in practice as a chronological introduction to the art of the West, centered on the great narratives of high cultures, and typically spaced over an academic year.2
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