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This thesis examines the generalship, leadership, and operational art of General James N. Mattis, US Marine Corps by using Task Force 58 in Afghanistan as a formative base and then comparing elements of operational art to the conduct of the 1st Marine Division in Operation Iraqi Freedom, 2003. Mattis draws upon many historical influences that shape his operational design in both campaigns. He puts great effort and focus on ensuring that his commander’s intent is understood by all his subordinates and uses a preference for a small staff in the planning and execution of his intent. He makes heavy use of personally selected liaison officers to form and sustain habitual relationships with higher and adjacent units. Through the use of historical examples and a refusal to be constrained by doctrine and popular thought he uses innovative approaches in his design. These innovative approaches often constitute paradigm shifts with contemporary thought and doctrine. A ‘Mattis Way of War’ is postulated in the conclusion which draws from his use of history, commander’s intent, and leadership to build up a capacity, or potential energy, for action in his unit. Once built up, he unleashes this energy utilizing explicit trust in his staff and subordinates.

In 2008, anthropologist Matti Bunzl was given rare access to observe the curatorial department of Chicago’s Museum of Contemporary Art. For five months, he sat with the institution’s staff, witnessing firsthand what truly goes on behind the scenes at a contemporary art museum. From fund-raising and owner loans to museum-artist relations to the immense effort involved in safely shipping sixty works from twenty-seven lenders in fourteen cities and five countries, Matti Bunzl’s In Search of a Lost Avant-Garde illustrates the inner workings of one of Chicago’s premier cultural institutions. Bunzl’s ethnography is designed to show how a commitment to the avant-garde can come into conflict with an imperative for growth, leading to the abandonment of the new and difficult in favor of the entertaining and profitable. Jeff Koons, whose massive retrospective debuted during Bunzl's research, occupies a central place in his book and exposes the anxieties caused by such seemingly pornographic work as the infamous Made in Heaven series. Featuring cameos by other leading artists, including Liam Gillick, Jenny Holzer, Karen Kilimnik, and Tino Sehgal, the drama Bunzl narrates is palpable and entertaining and sheds an altogether new light on the contemporary art boom.