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1

Reading Public Museum and Art Gallery (Pa.). The Reading Public Museum and Art Gallery: Selections from the permanent collection. The Museum, 1986.

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2

Freedman Gallery (Reading, Pa.) and Gallery 400, eds. Sites and solutions: Recent public art : October 12-November 18, 1984, Freedman Gallery, Albright College, Reading, Pennsylvania, January 9-February 2, 1985, Gallery 400, College of Architecture, Art, and Urban Planning, the University of Illinois at Chicago. Freedman Gallery, Albright College, 1985.

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3

Sanctis, M. De. The Bayeux tapestry: The City of Bayeux Tapestry and the Reading Museum and Art Gallery facsimile. Norton, 1993.

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4

Galleries, Ontario Association of Art. Ontario Association of Art Galleries' human resources package: For the recruitment, hiring and management of the executive director in a public art gallery. The Association, 1994.

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5

Sichel, Kim. Philip Guston, 1975-1980: Private and public battles. Boston University Art Gallery, 1994.

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6

Gallery, Serpentine, ed. Oscar Niemeyer: Serpentine Gallery Pavilion 2003. Serpentine Gallery, 2003.

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7

Papua New Guinea. National Parliament. Public Accounts Committee. Public Accounts Committee report to Parliament on the inquiry into the National Museum and Art Gallery and the sale and export of the Swamp Ghost aircraft. Public Accounts Committee], 2007.

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8

1940-, Acconci Vito, Holl Steven, Ritter Arno, Storefront Gallery for Art and Architecture., and Kunsthaus Bregenz. Archiv Kunst Architektur., eds. Acconci, Holl: Storefront for Art and Architecture. Kunsthaus Bregenz, Archiv Kunst Architektur, 2000.

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9

Borza, Pace Maria. Issues of national identity and the changing perception of identity in irish public art collection and display in the 20th century: Case studies : The Republic of Ireland Hugh Lane Municipal Gallery, Dublin Irish Museum of Modern Art, Dublin. The Author), 2004.

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10

Harrison, Marina. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. 2nd ed. M. Kesend, 1994.

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11

Harrison, Marina. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, Queens, the Bronx, and Staten Island. 3rd ed. New York University Press, 2004.

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12

Caygill, Marjorie L. A survey of visitors to the British Museum (1992-3). British Museum, 1994.

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13

Huntington, Elfie. A woman's view: The photography of Elfie Huntington, 1868-1949 : Springville Museum of Art, February 12-March 10, 1988 : Atrium Gallery, S.L.C. Public Library, April 15-May 17, 1988. The Association, 1988.

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14

Victoria and Albert museum. Vision & accident: The story of the Victoria and Albert Museum. V&A Publications, 1999.

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15

Buck-Morss, Susan. Ground control: Technology and utopia. Black Dog Publishing, 1997.

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16

Wright, Christopher. Masterpieces of reality: French 17th century painting : a loan exhibition from public and private collections in Britain and Ireland : the Leicestershire Museum and Art Gallery, New Walk, Leicester, 23 October 1985-2 February 1986. The Museum, 1985.

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17

Kadu, Niemeyer, ed. Oscar Niemeyer: Casas onde morei. Editora Revan, 2005.

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18

Matthieu, Salvaing, ed. Oscar Niemeyer. Assouline, 2001.

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19

intro, Dietrich Bruce. The Reading Public Museum and Art Gallery: Selections From the Permanent Collection. Reading Public Museum, 1986.

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20

Richter, Anne Nellis. The Gallery at Cleveland House. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350372771.

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In 1806, the Marquess and Marchioness of Stafford opened a gallery at Cleveland House, London, to display their internationally-renowned collection of Old Master paintings to the public.A ticket to the gallery’s Wednesday afternoon openings was a sought-after prize, granting access to the collection and the house’s dazzling interior in the company of artists, celebrities, and Britain’s elite. This book explores the gallery's interior through the lens of its abundant material culture, including paintings in gilded frames, furniture, silver oil lamps, flower arrangements, and the numerous printe
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21

Whitehead, Christopher. Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery. Taylor & Francis Group, 2017.

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22

Whitehead, Christopher. Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery. Taylor & Francis Group, 2017.

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23

Future of Museum and Gallery Design: Purpose, Process, Perception. Taylor & Francis Group, 2018.

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24

Future of Museum and Gallery Design: Purpose, Process, Perception. Taylor & Francis Group, 2018.

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25

Hing-Kay, Oscar Ho, Jonathan Hale, Suzanne MacLeod, and Tricia Austin. Future of Museum and Gallery Design: Purpose, Process, Perception. Taylor & Francis Group, 2018.

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26

Hing-Kay, Oscar Ho, Jonathan Hale, Suzanne MacLeod, and Tricia Austin. Future of Museum and Gallery Design: Purpose, Process, Perception. Taylor & Francis Group, 2018.

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27

The Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery (Perspectives on Collecting). Ashgate Publishing, 2005.

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28

Moshenska, Gabriel. Key Concepts in Public Archaeology. UCL Press, 2017.

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29

Moshenska, Gabriel. Key Concepts in Public Archaeology. UCL Press, 2017.

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30

Moshenska, Gabriel. Key Concepts in Public Archaeology. UCL Press, 2017.

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31

Sanctis, M. De. Bayeux Tapestry and the Facsimile: City of Bayeux Tapestry and the Reading Museum and Art Gallery Facsimile. Norton, 1992.

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32

The National Gallery of Canada: Ideas, art, architecture. McGill-Queen's University Press, 2003.

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33

Holl, Steven, Vito Acconci, and Arno Ritter. Vito Acconci/Steven Holl: Storefront Gallery. Hatje Cantz Publishers, 2001.

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34

McInnes, Mary Drach, Kim Sickel, Kim Sichel, and Philip Guston. Philip Guston' 1975-1980: Private and Public Battles. Univ of Washington Pr, 1995.

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35

After Darkness Light: The Birth of the Liverpool Autumn Exhibitions 1871-1876. Sansom & Company Limited, 2020.

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36

Rosenfeld, Lucy, and Marina Harrison. Artwalks in New York: Delightful Discoveries of Public Art and Gardens in Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. 3rd ed. NYU Press, 2004.

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37

Davies, Hugh, and Laurie Ann Farrell. Learning from La Jolla: Robert Venturi Remakes a Museum in the Precinct of Irving Gill. Museum of Contemporary Art San Diego, 1998.

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38

Burton, Anthony. Vision & Accident. Victoria & Albert Museum, 1999.

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39

Temple of invention: History of a national landmark. Scala for the Smithsonian American Art Museum and the National Portrait Gallery, 2006.

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40

Jablonskiene, Lolita, Duncan McCorquodale, and Julian Stallabrass. Ground Control. Trolly, 2002.

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41

Anderson, Maxwell L. Antiquities. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190614928.001.0001.

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The destruction of ancient monuments and artworks by the Taliban in Afghanistan and the Islamic State in Iraq and Syria has shocked observers worldwide. Yet iconoclastic erasures of the past date back at least to the mid-1300s BCE, during the Amarna Period of ancient Egypt’s 18th dynasty. Far more damage to the past has been inflicted by natural disasters, looters, and public works. Art historian Maxwell Anderson’s Antiquities: What Everyone Needs to Know® analyzes continuing threats to our heritage, and offers a balanced account of treaties and laws governing the circulation of objects; the h
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42

Australia's Fossil Heritage. CSIRO Publishing, 2012. http://dx.doi.org/10.1071/9780643101784.

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The National Heritage List was created in January 2004 to recognise, celebrate and protect places of outstanding heritage value to the nation. National heritage encompasses those places that reveal the richness of Australia's extraordinarily diverse natural, historic and Indigenous heritage. One aspect of natural heritage that has been little explored is Australia’s wealth of exceptional fossil sites. While a small number of fossil sites have risen to public prominence, there are many lesser-known sites that have important heritage values. 
 The Australian Heritage Council engaged palaeon
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