In The Making of Home, Judith Flanders argues that it can be difficult to know what ordinary homes throughout history looked and felt like, in part because museums with «period rooms» tend to
devote precious space to recreating the opulent homes of wealthy figures from the past.
There are nods to activities on the US west coast, and
space given to Sam Francis, an overly
precious artist whose paintings are a sort of décor writ large, and a small section
devoted to photography, which feels like an appendage, and comes without enough contextualisation.