In early 20th century, the art historical institute in Vienna led by Josef Strzygowski (1862-1941) offered the unique opportunity to study the arts of Asia and the Middle East at university level (fig. I).· 1 The rich material repository for the study of 'Oriental' art - consisting of ca. 4000 books, 52.000 photographs and images, and 20.000 lantern slides - was unparalleled in Europe.2 It attracked a large number of students and turned the institute into a hub for Asian and Islamic art. Numerous guest auditors from all over Europe and abroad further enriched the lively community.3 Between 1910 and 1933, more than one hundred students supervised by Strzygowski completed their dissertations on Northern European, Austrian, Persian, Islamic, Chinese, Japanese and Indian art.4 Suzanne Marchand has directed attention to the strikingly Targe number of female students' at Strzygowski's institute, 'who would make careers outside Central Europe and remain relatively free from racist ideologies' The article pursues the twofold aim of combining a historical intersectional study of the Vienna school with a critique of patriarchal patterns of historiography. This study aims to contribute to research of the co-constitutive relation of art and identity markers such as gender and race.The article consists of three parts: two historical studies (part I and III) embrace a theoretical section on patriarchal patterns in historiography (part II). In the first part, Melanie Stiassny's presidency of the Society of Friends of Asian Art and Culture is the centerpiece of the historical investigation. The society was one of the liveliest in inter war Vienna, and Stiassny, as its managing vice-president, organized exhibitions, broadcasts and adult education, edited the journal of the society, and published articles on Chinese art. Knowledge about Stiassny and the infrastructure of the society sheds light on the processes of valorizing Asian art. It furthermore gives insights into how Strzygowskian graduates built networks and professionalized.23 The second part, the theoretical section, draws on feminist, gender and intersectional studies to analyse patterns and conventions of historiography. A close reading of several articles on Viennese art history reveals how androcentric criteria shape historiography to date. The third part adopts some of the androcentric historiographical criteria such as 'success' to comparatively trace careers of 'successful' women and men art historians.24 Interestingly, their migratory trajectories reveal a gendered and raced pattern of migration: Women and non-European men art historians often found their first academic positions at universities in the Middle East or Asia, whereas European men began their careers at museums in Vienna and Berlin. Eventually, most worked in area studies departments at US-American universities.