Balatonboglár, for instance, is lacking.3 In her conclusion Kemp-Welch clearly emphasizes that she means to “offer an art history of Eastern Europe ‘from below’” (410), and she calls for historiographies that “challenge the perpetuation of Cold War attitudes” (411). But beyond aesthetic attitudes and practices that crossed borders day-to-day from the late 1960s until the early 1980s, there was of course in Eastern Europe a professional net of art regulation. The methods and relative intensity of this regime depended on a regional politics that was a result of Cold War constellations and pressure from the Soviet Union towards its satellites.4 Its few weaknesses notwithstanding, Networking the Bloc will surely become one of the most cited treatments of an Eastern European art history interconnected despite a world characterized by political division. Kemp-Welch’s book is significant as historiography based on archival sources because it brilliantly investigates local primary materials within an international art world setting.

中文翻译：

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从前……在威尼斯

例如，Balatonboglár 就缺乏。3 在她的结论中，Kemp-Welch 明确强调她的意思是“从下面提供东欧的艺术史”（410），并且她呼吁历史编纂“挑战冷战争态度”（411）。但除了从 1960 年代末到 1980 年代初每天跨越国界的审美态度和实践之外，东欧当然还有一个专业的艺术监管网络。该政权的方法和相对强度取决于冷战星座和苏联对其卫星施加压力所导致的区域政治。 4尽管存在一些弱点，但将集团联网肯定会成为最常被引用的处理方法之一。尽管世界以政治分裂为特征，但东欧艺术史却相互关联。