How does architecture make its appearance in civil society? Constitutional Modernism pursues this challenging question by exploring architecture, planning, and law as cultural forces. Analyzing the complex entanglements between these disciplines in the Cuban Republic, Timothy Hyde reveals how architects joined with other professionals and intellectuals in efforts to establish a stable civil society, from the promulgation of a new Cuban Constitution in 1940 up until the Cuban Revolution.

By arguing that constitutionalism was elaborated through architectural principles and practices as well as legal ones, Hyde offers a new view of architectural modernism as a political and social instrument. He contends that constitutionalism produced a decisive confluence of law and architecture, a means for planning the future of Cuba. The importance of architecture in this process is laid bare by Hyde’s thorough scrutiny of a variety of textual, graphical, and physical artifacts. He examines constitutional articles, exhibitions, interviews, master plans, monuments, and other primary materials as acts of design.

Read from the perspective of architectural history, Constitutional Modernism demonstrates how the modernist concepts that developed as an international discourse before the Second World War evolved through interactions with other disciplines into a civil urbanism in Cuba. And read from the perspective of Cuban history, the book explains how not only material products such as buildings and monuments but also the immaterial methods of architecture as a cultural practice produced ideas that had consequential effects on the political circumstances of the nation.

Teddy Roosevelt’s head sculpted from butter. The Liberty Bell replicated in oranges. The Sioux City Corn Palace of 1891 encased with corn, grains, and grasses and stretching for two city blocks—with a trolley line running down its center. Between 1870 and 1930, from county and state fairs to the world’s fairs, large exhibition buildings were covered with grains, fruits, and vegetables to declare in no uncertain terms the rich agricultural abundance of the United States. At the same fairs—but on a more intimate level—ice-cooled cases enticed fairgoers to marvel at an array of butter sculpture models including cows, buildings, flowers, and politicians, all proclaiming the rich bounty and unending promise held by the region.

Often viewed as mere humorous novelties—fun and folksy, but not worthy of serious consideration—these lively forms of American art are described by Pamela H. Simpson in a fascinating and comprehensive history. From the pioneering cereal architecture of Henry Worrall at the Philadelphia Centennial Exposition to the vast corn palaces displayed in Sioux City, Iowa, and elsewhere between 1877 and 1891, Simpson brings to life these dazzling large-scale displays in turn-of-the-century American fairs and festivals. She guides readers through the fascinating forms of crop art and butter sculpture, as they grew from state and regional fairs to a significant place at the major international exhibitions. The Minnesota State Fair’s Princess Kay of the Milky Way contest, Lillian Colton’s famed pictorial seed art, and the work of Iowa’s “butter cow lady,” Norma “Duffy” Lyon, are modern versions of this tradition.

Beautifully illustrated with a bounty of never-before-seen archival images, Corn Palaces and Butter Queens is an accessible history of one of America’s most unique and beguiling Midwestern art forms—an amusing and peculiar phenomenon that profoundly affected the way Americans saw themselves and their country’s potential during times of drought and great depression.

Refinery explosions. Accounting scandals. Bank meltdowns. All of these catastrophes—and many more—might rightfully be blamed on corporations. In response, advocates have suggested reforms ranging from increased government regulation to corporate codes of conduct to stop corporate abuses. Joshua Barkan writes that these reactions, which view law as a limit on corporations, misunderstand the role of law in fostering corporate power.

In Corporate Sovereignty, Barkan argues that corporate power should be rethought as a mode of political sovereignty. Rather than treating the economic power of corporations as a threat to the political sovereignty of states, Barkan shows that the two are ontologically linked. Situating analysis of U.S., British, and international corporate law alongside careful readings in political and social theory, he demonstrates that the Anglo-American corporation and modern political sovereignty are founded in and bound together through a principle of legally sanctioned immunity from law. The problems that corporate-led globalization present for governments result not from regulatory failures as much as from corporate immunity that is being exported across the globe.

For Barkan, there is a paradox in that corporations, which are legal creations, are given such power that they undermine the sovereignty of states. He notes that while the relationship between states and corporations may appear adversarial, it is in fact a kind of doubling in which state sovereignty and corporate power are both conjoined and in conflict. Our refusal to grapple with the peculiar nature of this doubling means that some of our best efforts to control corporations unwittingly reinvest the sovereign powers they oppose.