With a historical and critical perspective, this collective volume examines the post-war institutional framework for art in Greece from the end of World War II to the present day. Its authors, twelve Greek art historians, illuminate key issues and discussions, revealing how, by whom, and when common assumptions were formed about what is interesting, what is worth exhibiting, or what is considered a valuable work of art, which generally constitutes certainty today. Their texts reflect the aspirations and anxieties of the protagonists of history and the present, the conflicting views and intermediary spaces, the theoretical frameworks used and sometimes misinterpreted, as well as the paths to the final result, which in some cases seems self-evident today. The first thematic section of the book is more chronologically defined and concerns the first post-war decades. Specifically, it examines propaganda exhibitions that attempted to shape a positive image of the country's new political orientation within the Cold War context (Evi Papadopoulou), the efforts of the Athens School of Fine Arts to incorporate applied arts into its curriculum (Christina Dimakopoulou), exhibitions of Greek artists on the cruise ship Olympia (Anny Malama), and the construction of a linear narrative for the history of art in the modern Greek state (Lefteris Spyrou). The collective or state policies, in public and private institutions for art in Greece that significantly changed their statutory function or were established in the post-war period, are the subject of the second section of texts. This presents the case of the reconstruction and modernization of the Artistic Professional Chamber (Spyros Moschonas), the early years of operation of the National Museum of Contemporary Art (Tina Pandi), efforts for the institutional recognition and establishment of a photography museum in Greece (Hero Katsaridou), as well as the institutional action of the Ministry of Culture for contemporary artistic creation (Ani Kontogiorgi). In the third and final section of the book, the texts focus exclusively on contemporary visual practices, as well as more broadly on the institutional framework for contemporary art. Thus, the involvement of private individuals and Legal Entities of Private Law in the production and dissemination of contemporary art (Irini Gerogianni, Louiza Avgita), and the ideological directions and practices regarding visual installations and moving images (Areti Adamopoulou, Maro Psyra) are examined. • Areti Adamopoulou is a professor of art history at the University of Ioannina.