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This paper explores both the growth of Asian art collections and the conceptual development of Asian art exhibitions in the United States from roughly 1880-1980. The first half of the paper comprises a discussion of Asian art collecting and scholarship in the U.S., focusing on such key individuals as Ernest Fenollosa, Okakura Kakuzo, Charles Freer, Laurence Sickman, Alexander Soper, Sherman Lee, Avery Brundage, James Cahill, and Wen Fong. The activities of these individuals in the museum and academic realms will be assessed in the context of America's growing engagement with Asia over the course of the 20th century, with particular focus on such key events as World War II and the Korean War. The second half of the paper examines the development of Asian art exhibitions in the United States through the specific window of Chinese art exhibitions, as influenced by the increasing knowledge of Asian cultures and languages by American specialists over the course of the 20th century. The discussion will take into account such varying considerations as shifting changes in taste, the impact of evolving academic methodologies, and degrees of institutional support.