In the late 1960s and 1970s, living history flowered, with new developments in research and interpretation at sites like Plimoth Plantation and Old Sturbridge Village, and the establishment of many new living history farms and museums, alongside a new professional organization: the Association for Living History Farms and Museums. This article examines this shift and puts it into conversation with the concurrent countercultural and commune movement, which often resembled—both aesthetically and ideologically—new living history. Using this case study as a model, I argue that in order to fully understand and account for developments in public practice, we must not only look at public history in a wider lens, but also account for form alongside context.

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