Italian art embodies a model of ideal beauty that is deeply rooted in western historical consciousness. In the 1930s, the Italian fascist regime appropriated this model to establish cultural-political relations with other governments. As ambassadors of fascist cultural diplomacy, iconic masterpieces of Italian art then travelled in exhibitions to London, Paris, Belgrade, and the USA.

Matilde Cartolari discusses exhibitions as a point of intersection between art historiography and the art market, restoration and heritage protection, nationalism and internationalism. Her analysis sheds light on the development of Italy's fascist cultural policy from the ephemeral triumphalism of the Ethiopian campaign to the unfulfilled dream of the E42 World's Fair.