| 7 | | Bryan M. Gray, Sponsor's Foreword
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| 8 | | Christoph Grunenberg and Tobias G. Natter, Foreword
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| 10 | | Christoph Grunenberg, Tobias G. Natter, Andrea Nixon, Acknowledgements
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| 13 | | Tobias G. Natter, Gustav Klimt: No More Than a Goldsmith?, The Cross-Pollination of Painting, Architecture and the Applied Arts in Vienna around 1900
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| 25 | | Esther da Costa Meyer, Gesamtkunstwerk, or the Politics of Wholeness
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| 33 | | Christoph Grunenberg, Luxury and Degradation: Staging Klimt
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| 43 | | Beatriz Colomina, Sex, Lies and Decoration, Adolf Loos and Gustav Klimt
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| 53 | | Elizabeth Clegg, 'Austrian Art' on the Move, The Cultural Politics of International Exhibiting 1900-1918
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| 60 | | Elizabeth Clegg, The Foundation of the Viennese Secession
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| 80 | | Eva Winkler, The Beethoven Frieze
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| 100 | | Elizabeth Clegg, The Wiener Werkstätte
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| 118 | | Elizabeth Clegg, Fritz and Lili Waerndorfer
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| 132 | | Elizabeth Clegg, The Villa Henneberg
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| 148 | | Elizabeth Clegg, The Gallia Apartment
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| 162 | | Elizabeth Clegg, Karl Wittgenstein and the Wittgenstein Family
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| 170 | | Paul Asenbaum, The Tea and Coffee Service Owned by Margaret Stonborough-Wittgenstein
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| 182 | | Elizabeth Clegg, Eugenia and Otto Primavesi
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| 192 | | Elizabeth Clegg, The Artist's Studio, Gustav Klimt and Egon Schiele
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| 200 | | Elizabeth Clegg, Gustav Klimt and Landscape
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| 214 | | Elizabeth Clegg, The World in Female Form
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| 233 | | Tobias G. Natter, Chronology
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