Acknowledgments
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xi Acknowledgments First of all, we are grateful to Jennifer Jensen Wallach and Michael Wise for believing in our project.We also thank all the University of Arkansas Press staff that we had the pleasure to collaborate with.This book would have not been possible without the impressive work of all its contributors. We would like to thank each of them for their competence and punctuality. We must also acknowledge Nicole Caruth, Claudia Salaris, and Peter Scholliers, who were involved in the initial phases of this project and inspired subsequent developments. A heartfelt thank-you goes to those who shared their feedback with us during the various stages of this book’s preparation, and in particular Matthew Collins, Emily Green, Peter Lieberman, Valerie Moon, and Diane O’Donoghue. We are truly grateful to Julie K. Stone and Gediminas and Nomeda Urbonas for the many conversations on edible gardens as well as food production and consumption in the context of activist art. Many thanks also to Shilpa Prasad, Simone Lenzi, and Roberto Abbiati, scholars and“gastronaut”friends, namely irreverent foodies,for stimulating our reflection on the apparent silliness and indeed profound significance of food fashions and trends. Several of the essays in this volume benefit from the generosity and availability of the artists whose work is discussed in the texts.We must thank profusely Janine Antoni, Peter Fischli, Elżbieta Jabłońska, Alison Knowles, Liza Lou, Paul McCarthy, Barbara Räderscheidt, Martha Rosler, Al Ruppersberg, and Daniel Spoerri. Our sincere thanks also go to curator Meredith Johnson and artist Rachel Budde for sharing their invaluable insights on the piece “In & On” by Janine Antoni. In addition, the following individuals, galleries, and institutions deserve our gratitude for having given permission to publish selected visual sources: the Archive of Luciano and Carla Fabro,the Cleveland Art Museum, Creative Time New York, the Getty Research Institute, the Luhring Augustine Gallery New York, Giovanni Ricci, the Dieter Roth Foundation, and the Whitney Museum. We truly appreciate the role played by our students in the shaping xii Acknowledgments of this volume, because many of the thoughts and arguments articulated here were inspired by lively discussions in our classrooms at the Scuola Normale Superiore in Pisa and the School of the Museum of Fine Arts at Tufts University in Boston.We thank the institutions that we are affiliated with for their generous support to our studies. Our colleagues gave us constant advice on the subject of this book; among them we would like to mention especially Lauren Kimball Brown, Magdalena Campos Pons,Jim Dow,Mags Harries,Darin Murphy,and Ashley Peterson. On the home front, many helped us to devote time to our research, by watching our beloved children, Benjamin and Johannes (Margherita’s boys) and Arianna and Giulia (Silvia’s girls). We are indebted to Alexander Auf der Heyde, Diego Puppin, Gina Corvino, Olga Brown, Maria Cristina Mazzoni, Tabea Bock, and Henrieke Homburg. Last but not least,it has been an immense privilege to develop The Taste of Art together.We must thank each other for having been such organized yet self-ironic, strict yet understanding team workers. We look forward to many more collaborations in the future. The Taste of Art ...