This book provides an in‎-depth account of the protests that shook France in 1968 and which served as a catalyst to a radical reconsideration of artistic practice that has shaped both art and museum exhibitions up to the present‎.‎ Rebecca DeRoo examines how issues of historical and personal memory‎,‎ the separation of public and private domains‎,‎ and the ordinary objects of everyday life emerged as central concerns for museums and for artists‎,‎ as both struggled to respond to the protests‎.‎ She argues that the responses of the museums were only partially faithful to the aims of the activist movements‎.‎ Museums‎,‎ in fact‎,‎ often misunderstood and misrepresented the work of artists that was exhibited as a means of addressing these concerns‎.‎ Analyzing how museums and critics did and did not address the aims of the protests‎,‎ DeRoo highlights the issues relevant to the politics of the public display of art that have been central to artistic representation‎,‎ in France as well as in North America‎.‎