The Migrating Art Historians project (2017) was a challenging one. It provoked a strong reaction from a non-academic audience while stimulating a vivid discussion – both printed and informal – within academia itself. Starting with the academic debates it is worthwhile to admit that the project was – as well as its outputs – rather nonconformist. It was unprecedented in the field of Art History, which is not always accustomed to the experimental collecting of data. Furthermore, its hierarchical structure challenged the habitus of academia, when masters students were invited to participate in the same scholarly event and publication as established scholars such as Hans Belting, Michele Bacci, Sible de Blaauw, and Cynthia Hahn. At first glance, the project may have been misunderstood as an attempt to create an event of “living history.” In the world where a book is reduced to an introduction, abstract, keywords, or even just the title appearing on social media, such a misunderstanding can easily be made. Looking closer, it is clear that this was never the intention nor the outcome of the project.