The appearance of Rattan Body, by Issey Miyake and Koshige Shochikudo, on Artforum’s March 1982 cover provides a way to examine a broader change: the gradual arrival of contemporary fashion in museums as cultural expression, while acknowledging the material and curatorial limits involved in exhibiting and preserving garments.
Stickers did not begin as isolated toys. In Spain, the evidence gathered places their antecedents in commercial wrappers from the late nineteenth century, their spread through consumer products in the 1920s, and the sale of packets in the post-war period. This history explains why the album, the duplicate, and swapping form a cultural system of their own.
Between the second half of the 1970s and 1990, magazines were a decisive route for adult comics in Spain. This piece examines their expansion on newsstands, their editorial diversity, and the reasons attributed to their later decline, distinguishing available evidence from interpretation.
An analysis of The Food Timeline, the project associated with reference librarian Lynne Olver, and what it reveals about documenting food history without reducing it to a simple list of “inventions.”
Six sources make it possible to outline, with explicit limits, several landmarks in Spanish toy history: the electric train of 1931, the interruption caused by the Civil War, Scalextric’s presence from 1952, Nancy in 1968, Madelman in 1968, and Geyperman in 1975.
A critical reading of the available evidence on the Museu del Còmic i la Il·lustració and the value of magazines, booklets, press material and original art as documentary heritage. The article separates what the sources support from what still requires cataloguing, provenance and institutional consultation.
Collections in Turin, Berlin, Madrid and Argentina show that a historic vehicle is not merely a design object: it can be a technical document, a working tool, a public memory and a starting point for making spare parts. The available evidence supports comparing these approaches, but not turning them into a complete history of motoring.
The case of Oscar de la Renta dresses in a National Museum of the American Latino display explains a core principle of textile conservation: removing a garment from light does not mean hiding it, but extending its ability to tell a story.
The Museo da Conserva’s #ComidaViejuna campaign invites us to read household recipe books as objects that preserve recipes, visual habits and cultural memory. Drawing on that initiative and sources on food heritage, this piece examines what can—and cannot—be documented when collecting, describing and interpreting everyday papers.
The 2006 opening of Modena’s Museo della Figurina offers a way to examine the sticker as a printed object, a domestic collection, and a cultural document. This guide proposes a careful approach to viewing, cataloguing, and preserving it, while separating established evidence from questions requiring further research.
A chronological reading of how documentation, preventive conservation and minimal intervention became central to institutional restoration, drawing on cases documented by the Prado, the MNCN and Spanish cultural bodies.
Video-game preservation encompasses hardware, software, documents, advertising, magazines, audiovisual materials and the cultural conditions of use. Drawing on Spanish initiatives and academic debates, this article defines what can be verified about that work and why a playable copy does not exhaust a game’s history.
