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Osokina designs her account in an investigative genre. She does not shun the first person and incorporates her research process into the narrative-how she crosschecked inventory numbers, how curators responded to her inquiries, what topics they were willing to discuss and why, the dead ends and eureka moments. This narrative choice allows readers to solve intellectual puzzles along with the author and to experience research vicariously. The book straddles the past and the present, in which contemporary curators attempt to shape how a history of their collections is written. For the past of the collection speaks to the present in newly-found moral and national languages. After reading Osokina's book, it is impossible to look at icons in the same way again.

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