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Based on unpublished archival sources, this essay focuses on the traveling exhibition Italy at Work, its organization, its display, and its contribution to promoting new Italian craftsmanship and design in postwar America. It considers the event within a broad-based agenda, showing how the exhibition’s early staging plans embraced cultural and economic issues. It unveils early agreements with Manhattan museums that were never fulfilled and how the twelve museums hosting the show shared layout and display strategies. Finally, it assesses the exhibition’s epilogue, highlighting the Italian government’s efforts to allocate the unsold articles and their afterlife in US museums and shows