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ABSTRACT
The article provides the background and context for the research papers published in this edition of the Journal. The Tate Modern conference1, Tableau: Painting Photo Object, in 2011, expanded a problematic about the pictorial distinctions embedded in the concept of the tableau form, this discussion being most recently aired in the writings of Michael Fried and Jean-François Chevrier. The wider context links the tableau form to notions of dispositif and apparatus, terms that have become widely linked to the mechanisms and rhetoric of the modes of address of art forms. The research papers and the Tate conference have been part of the wider ‘Tableau Project’ whose aim is to open up discussion around historical, theoretical and contemporary practices that are linked to the tableau form.