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More than anyone else, Francis Haskell (1928-2000) made art an object of history by showing the variations of its contents and frontiers under the influence of changes in taste, the rediscoveries of forgotten artists, and reconstructions and deconstructions of artistic hierarchies. More than anyone, he included philanthropists and critics, collectors and museums, exhibits and the market in the history of art. More than anyone else, he gave a front-row seat to images in general and to works of art in particular as far as historic sources are concerned. More than anyone else, he contributed to breaking down the walls between the history of art and history and drew them together. Familiar to anyone studying the history of Europe of the first modernity, Haskell’s work is perhaps less familiar to 20th century specialists although he was very interested in this period, not only in his early publications but also in his later major books. In homage to this great historian who disappeared prematurely, we are publishing a chapter of his last and unfinished book: The Ephemeral Museum: Art Exhibitions and their Significance. He shows the interest of a study of artistic events such as temporary exhibits for the ideological history of the 20th century.