A study undertaken by art librarians in Florence demonstrates that catalogues of exhibitions held in Florence during the decade culminating in the city’s designation as the European Capital of Culture offer clear evidence of the development of art exhibitions into a cultural phenomenon attracting considerable interest, supported by (and promoting the interests of) public and commercial bodies. In the same period, restoration has continued its rise to prominence, both as an added dimension to art exhibitions and as a subject of exhibitions in its own right; this trend reflects not only a high level of activity in the field of restoration but also an awakening of public interest in the process of restoration. Museums, sometimes in close collaboration with publishers, have learned how to use exhibitions and catalogues both to publicise and to further continuing study of their collections. The catalogue has become a substantial vehicle of art documentation and scholarship, an autonomous publication, no longer simply a guide to the exhibition.