Taoism and the Arts of China is a welcome scholarly endeavor. The exhibition and catalogue were organized by Stephen Little, Pritzker Curator at the Art Institute of Chicago, with assistance from Shawn Eichman, exhibition coordinator for the show. Both were well suited to the task, having addressed the topic in previous scholarship. The catalogue, like the exhibition, contains a diverse range of media to delight the eye, stimulate the intellect, and indicate the social and cultural depth of this belief system. A list of no fewer than 151 objects from fifty-eight private and public collections and ten countries worldwide underscores the monumental scale of this international project. The first part of the catalogue features scholarly essays by leading art historians and historians that thoughtfully explain foundational concepts of Daoism. Little sets out the goals of the exhibition in “Taoism and the Arts of China,” namely, to “examine the role works of art have played in the history of [D]aoism from the late Han (second century) to Qing (1644–1911) dynasties” and “to introduce China’s primary indigenous religion to a Western audience by examining the iconography and function of works of art made in the service of [D]aoism” (13), with an emphasis...