Wall texts and labels in museum exhibitions, often written in bland and impersonal prose, tend to obscure the voice of the curator. The exhibition Géricault: La Folie d’un Monde provides a glorious exception to the rule. Bruno Chenique, an independent scholar and author of numerous publications about Théodore Géricault, develops his thesis not only in the exhibition’s catalogue (which is often the venue reserved for more theoretical art history in the present museum climate) but also, refreshingly, in the thought-provoking, witty, and at times caustic wall texts, brochure, and audio guide commentary. As with any great curatorial eye, Chenique makes many of his most salient points through the selection and juxtaposition of works of art, ensuring that Géricault: La Folie d’un Monde is one of the most exhilarating exhibitions of nineteenth-century art in recent memory. Along with scholars such as Régis Michel, Thomas Crow, and Nina Athanassoglou-Kallmyer, Chenique has proven irrefutably that Géricault intended the Radeau de la Méduse (1819; musée du Louvre) and the series of drawings of the murder of Fualdès (1818) to be understood as commentaries on the political and social turmoils of the day. More specifically, through the exhibition La Folie d’un Monde, Chenique argues, controversially,...