In 2013 I edited the final issue (as I was dismayed to discover afterwards) of the Journal of New Zealand Art History (JONZAH). It is a pleasure, then, to write this introduction for a special issue of the Journal of New Zealand Studies (JNZS) devoted to New Zealand art history. The quantity and quality of the articles in this issue go a considerable way to filling the void left by JONZAH in the intervening decade, even if the loss of a dedicated double-blind peer-reviewed journal remains keenly felt.
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Edward Hanfling (2024) studied this question.
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