This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.
Architect James Stanton-Abbott explains his process for creating a computer-rendered reconstruction of a room in an ancient Roman villa near Pompeii, using images of wall-painting fragments in the RISD Museum and the MFA, Boston.