piBeholding iconsiders the spatially situated encounter between artwork and spectator. It argues that artworks created for specific places or conditions structure a reciprocal encounter, which is completed by the presence of a beholder. These are works which demand the 'beholder's share', but not, as Ernst Gombrich famously claimed, to sustain an illusion. Rather, iBeholding ireconfigures Gombrich's notion of the beholder's share as a set of 'licensed' imaginative and cognitive projections. pEach chapter frames a particular work of art from the remit of a complementary theoretical text. The book establishes a transhistorical notion of the spatially situated encounter, and considers the role of the architectural host in bringing the beholder's orientation into play. The book engages a diverse range of practices from Renaissance painting and group portraiture to intermedia practices of installation and performance art. Written within the broad remit of reception aesthetics, the book prop