In the art chambers, princes and scholars united the great world in miniature. Objects from Africa and America were valued equally to their European counterparts. They were integral components of the collections and were viewed with wonder and curiosity, just like all rare and curious items. Elke Bujok examines the reception of Africana and Americana, as well as the foreign in general, using the example of three art chambers and an elevation of the 'Queen of America' at the Stuttgart court in 1599. She explains the historical and intellectual background of the art chambers, identifies previously undetermined objects based on descriptions and inventories, and reconstructs the exhibition context. The Munich art chamber was characterized by its flexible organizational system, which allowed for an equal integration of all collection categories based on function.