On January 31, 2012, Professor Stanley Abe gave a lecture entitled “The Modern Moment of Chinese Sculpture” as part of the Silberberg Lecture Series at the Institute of Fine Arts. Abe is an associate professor of art history at Duke University and has written extensively on Chinese Buddhist art, contemporary Chinese art, Asian American art, and the construction of art historical knowledge. His current research is on the movement of sculpture out of China in the early twentieth century, and his lecture on Wednesday drew on this project. Abe began his lecture by citing the introduction of the oft-quoted Art in China (1997) by Sinologist Craig Clunas: “’Chinese art’ is a quite recent invention, not much more than a hundred years old.” He pressed on, “The creation of ‘Chinese art’ in the nineteenth century allowed statements to be made about, and values to be ascribed to, a range of types of object.” This statement succinctly sums up what Abe’s lecture took to be its main argument, namely, that Chinese sculpture became a category of art in the latter half of the 19th century. Abe’s lecture traced the invention and development of Chinese sculpture as a class of art that sprung from the Modernist project of historicizing the past and recoding structures of knowledge surrounding Chinese art.