Book Review Bundrick, Sheramy D. Athens, Etruria, and the Many Lives of Greek Figured Pottery, Pp. 352, ills. 110 b&w. University of Wisconsin Press, Madison 2019. $119.95 (hbk); $32.50 (pbk). ISBN 9780299321000 (hbk); ISBN 9780299321048 (pbk). Reviewed by Keely E. Heuer, Department of Art History, State University of New York at New Paltz, 1 Hawk Drive, New Paltz, NY 12561, USA, E-mail: heuerk@newpaltz.edu https://doi.org/10.1515/etst-2022-0002 It is widely acknowledged that modern study of ancient Greek figural vase- painting—particularly that produced at Athens—is enormously indebted to the Etruscans’ enthusiasm for this material and their proclivity to bury thousands of these imported vases in their tombs. Indeed, it was mistakenly believed well into the nineteenth century that these Attic vases, decorated with scenes of myth and daily life, were local Etruscan products. Countless pages have been written on the many Athenian vases uncovered in Etruria, but as Bundrick correctly points out in her introduction, scholarship has overwhelmingly focused on these pieces as exclusively Greek objects. They can be mined for information about the potters and painters that produced them, their fellow Athenian citizens, the city in which they lived, and by further extension, ancient Greece in its entirety. The Etruscans had generally been characterized as passive and contented recipients of Attic vases until the early 2000s, when R. Osborne, C. Reusser, and others began to recognize the agency of the Etruscan buyer and to challenge past orthodox views that Athenian pottery was acquired only by the elite in urban centers (R. Osborne, “Why Did Athenian Pots Appeal to the Etruscans?” WorldArch 33 [2001] 277–95; C. Reusser, Vasen für Etrurien: Verbreitung und Funktionen attischer Keramik im Etrurien des 6. und 5. Jahrhunderts vor Christus [Zurich 2002]). In this insightful and meticulously researched volume, Bundrick takes this approach further by expanding the object biographies of these Athenian vases, plausibly considering their shapes and iconography through the eye of the Etruscan beholder, and thereby adeptly demonstrating their capacity to offer a more nuanced under- standing of societal concerns and ritual activity in Etruria. Bundrick champions the awareness of craftsmen in the Athenian Kerameikos concerning the interests and needs of their customers in Etruria. She notes that distribution data and studies of commercial trademarks no longer allow us to assume that the Athenian elite and the practice of the symposion in the city pro- vided the primary viewers and the only contexts for Attic figured pottery. While agreeing that the influence of Etruscan and other foreign markets has likely been Etruscan and Italic Studies 2022; aop