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2.4 Paradigm Shifts in Exhibition Making

8 min readjuly 29, 2024

Paradigm shifts in exhibition making have transformed how we experience art and culture. From public museums to movements, curators have pushed boundaries and challenged norms, shaping our understanding of art's role in society.

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These shifts reflect broader social, political, and technological changes. As exhibitions become more inclusive, interactive, and globally connected, they continue to evolve, offering new ways to engage with art and explore diverse perspectives.

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Paradigm Shifts in Exhibition Making

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The Rise of the Public Museum

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  • The rise of the public museum in the 18th and 19th centuries marked a significant shift in exhibition making, as collections were made accessible to a wider audience beyond the elite and scholarly circles
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  • This shift democratized access to art and knowledge, encouraging public engagement with cultural heritage (The British Museum, The Louvre)
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  • Public museums became important institutions for education, social reform, and nation-building, reflecting the values and aspirations of their societies
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  • The organization and display of collections in public museums often followed systematic and didactic approaches, aiming to convey a coherent narrative of art history or cultural progress
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Modernism and the Avant-Garde

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  • The advent of in the early 20th century brought about a focus on abstraction, experimentation, and the avant-garde, challenging traditional modes of display and interpretation
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  • Modernist exhibitions emphasized the formal qualities of artworks, often presenting them in isolation or in non-chronological arrangements (MoMA's "Cubism and Abstract Art" exhibition, 1936)
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  • The rise of avant-garde movements (Surrealism, Dada) led to unconventional and provocative exhibition strategies, such as the use of unexpected juxtapositions, immersive environments, and audience participation
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  • Modernist curators played a crucial role in shaping the canon of modern art and promoting the idea of artistic progress and innovation
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Post-War Developments and Institutional Critique

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  • The post-World War II period saw the emergence of new curatorial practices, such as the "" aesthetic, which prioritized a neutral, minimalist exhibition space to highlight the artwork itself
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  • The "white cube" approach aimed to create a contemplative and immersive viewing experience, minimizing distractions and contextual information (MoMA's "16 Americans" exhibition, 1959)
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  • The 1960s and 1970s witnessed a paradigm shift towards , with artists and curators questioning the authority and neutrality of museums and galleries, leading to more experimental and politically engaged exhibitions
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  • often challenged the power structures and ideological biases embedded in museum practices, addressing issues of , exclusion, and the commodification of art (Hans Haacke's "MoMA Poll", 1970)
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Postmodernism and the Expansion of Exhibition Practices

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  • The rise of postmodernism in the 1980s and 1990s emphasized the plurality of perspectives, the deconstruction of grand narratives, and the blurring of boundaries between high art and popular culture in exhibition making
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  • Postmodernist exhibitions often embraced a more eclectic, interdisciplinary, and context-specific approach, incorporating elements of installation, performance, and new media (Centre Pompidou's "Les Immatériaux", 1985)
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  • The late 20th and early 21st centuries have seen a growing emphasis on audience engagement, participatory practices, and the incorporation of new media and in exhibition design
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  • Contemporary exhibitions often prioritize immersive, interactive, and socially engaged experiences, seeking to foster dialogue, collaboration, and community building (Tate Modern's "The Weather Project" by Olafur Eliasson, 2003)
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Drivers of Curatorial Change

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Artistic Movements and New Art Forms

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  • Shifts in artistic movements and the emergence of new art forms, such as , , and new media, have necessitated adaptations in curatorial approaches and exhibition spaces
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  • Installation art has challenged traditional modes of display, requiring curators to create immersive and site-specific environments that integrate the artwork with the exhibition space (Christo and Jeanne-Claude's "The Gates", Central Park, 2005)
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  • Performance art has introduced ephemeral, time-based, and participatory elements into exhibitions, demanding new strategies for documentation, preservation, and audience engagement (Marina Abramović's "The Artist Is Present", MoMA, 2010)
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  • , including video, digital, and internet-based works, has required curators to develop new technical skills, collaborative practices, and display methods to accommodate the unique characteristics of these art forms (Whitney Museum's "Net Art Anthology", ongoing)
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Democratization and Diversity

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  • The democratization of art and the increasing diversity of artists and audiences have challenged traditional hierarchies and canon formation, leading to more inclusive and representative exhibition practices
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  • Curators have sought to address historical imbalances and exclusions by showcasing the work of underrepresented artists, including women, people of color, and LGBTQ+ individuals (Tate Modern's "Soul of a Nation: Art in the Age of Black Power", 2017)
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  • Exhibitions have increasingly focused on exploring diverse cultural perspectives, marginalized histories, and alternative narratives, moving beyond Western-centric approaches (Centre Pompidou's "Magiciens de la Terre", 1989)
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  • Collaborative and community-based curatorial models have emerged, involving artists, activists, and local communities in the development and presentation of exhibitions (Queens Museum's "Corona Plaza: Center of Everywhere", ongoing)
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Globalization and International Exchange

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  • The rise of and the increased mobility of artists, artworks, and ideas have led to a greater emphasis on , cross-cultural dialogue, and the exploration of transnational themes in exhibitions
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  • , , and other large-scale international exhibitions have become important platforms for showcasing global art practices, fostering cultural diplomacy, and addressing shared global challenges (Venice Biennale, documenta, Sharjah Biennial)
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  • Curators have increasingly focused on organizing exhibitions that trace the flows, influences, and connections between different artistic traditions, regions, and diasporas (Hayward Gallery's "The Other Story: Afro-Asian Artists in Post-War Britain", 1989)
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  • The globalization of the art world has also led to the emergence of new cultural hubs and the decentralization of artistic production, challenging the dominance of traditional art centers (Tate Modern's "Century City: Art and Culture in the Modern Metropolis", 2001)
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Technology's Impact on Exhibitions

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Digital Technologies and Immersive Experiences

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  • The introduction of digital technologies, such as video, sound, and interactive installations, has expanded the range of artistic practices and transformed the visitor experience in exhibitions
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  • Video art has become a central medium in contemporary exhibitions, requiring specialized display and sound systems to create immersive and engaging presentations (Bill Viola's "The Passions", Getty Museum, 2003)
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  • Interactive installations and participatory technologies have enabled visitors to actively engage with artworks, creating personalized and dynamic experiences (Random International's "Rain Room", MoMA, 2013)
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  • The development of virtual and augmented reality has enabled the creation of immersive and interactive exhibitions that blur the boundaries between the physical and the digital (Björk's "Björk Digital", traveling exhibition, 2016)
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Online Platforms and Social Media

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  • The widespread use of and has changed the way exhibitions are promoted, documented, and disseminated, allowing for greater audience engagement and global reach
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  • Museums and galleries have increasingly used social media to share behind-the-scenes content, artist interviews, and educational resources, fostering a sense of connection and (MoMA's Instagram account, ongoing)
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  • Online exhibitions and virtual tours have enabled audiences to access and experience art remotely, expanding the reach and impact of exhibitions beyond physical spaces (Google Arts & Culture, ongoing)
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  • Social media has also become a platform for artistic expression, activism, and critique, with artists and curators using these channels to engage with contemporary issues and create new forms of public art (Ai Weiwei's "Remembering", Instagram, 2019)
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Digitization and Data-Driven Approaches

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  • The of collections and the creation of online databases have made artworks and archival materials more accessible to researchers, educators, and the general public, fostering new forms of engagement and scholarship
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  • Digital archives and online catalogues have enabled curators to study, compare, and contextualize artworks in new ways, leading to innovative research and exhibition projects (Tate's "Art & Artists" database, ongoing)
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  • The use of data analytics and visitor tracking technologies has provided insights into audience behavior and preferences, informing curatorial decisions and exhibition design
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  • have enabled museums to personalize visitor experiences, tailor educational content, and optimize exhibition layouts based on visitor feedback and engagement patterns (Cooper Hewitt's "The Pen", ongoing)
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Social and Political Influences on Exhibitions

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Social Justice and Representation

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  • The civil rights movement and the struggle for racial equality have led to a greater emphasis on diversity, representation, and in exhibition programming and curatorial practices
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  • Exhibitions have increasingly focused on showcasing the work of artists from marginalized communities, addressing issues of systemic racism, and challenging Eurocentric narratives (Whitney Museum's "Black Male: Representations of Masculinity in Contemporary American Art", 1994)
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  • The feminist movement has challenged the male-dominated canon of art history and advocated for the and recognition of women artists in exhibitions and collections (Brooklyn Museum's "The Dinner Party" by Judy Chicago, permanent collection)
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  • The LGBTQ+ rights movement has pushed for greater visibility and representation of queer artists and themes in exhibitions, fostering a more inclusive and diverse art world (Tate Britain's "Queer British Art 1861-1967", 2017)
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Decolonization and Postcolonial Perspectives

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  • The rise of decolonial and has led to a critical re-examination of the legacies of colonialism and imperialism in museum collections and exhibition narratives
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  • Curators have sought to deconstruct and challenge the colonial origins and power dynamics embedded in museum practices, addressing issues of cultural appropriation, repatriation, and indigenous rights (Musée du Quai Branly's "The Making of Images", 2010)
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  • Exhibitions have increasingly focused on presenting alternative histories, indigenous knowledge systems, and non-Western artistic traditions, moving beyond colonial frameworks (National Gallery of Canada's "Sakahàn: International Indigenous Art", 2013)
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  • Collaborations with indigenous communities and the inclusion of indigenous curators and artists have become important strategies for decolonizing exhibition practices and fostering cultural self-determination (Art Gallery of Ontario's "Brian Jungen: Friendship Centre", 2019)
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Accessibility and Inclusion

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  • The growing awareness of accessibility and disability rights has encouraged curators to create more inclusive and accessible exhibitions, considering factors such as physical access, sensory experiences, and language barriers
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  • Exhibitions have increasingly incorporated elements such as audio descriptions, tactile models, and sign language interpretation to accommodate visitors with diverse needs and abilities (Victoria and Albert Museum's "Undressed: A Brief History of Underwear", 2016)
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  • Curators have also sought to create exhibitions that address the experiences and perspectives of people with disabilities, challenging stereotypes and promoting empowerment (Smithsonian Institution's "EveryBody: An Artifact History of Disability in America", ongoing)
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  • The principles of universal design have been applied to exhibition spaces and interpretive materials, ensuring that they are usable and engaging for the widest possible audience (Cooper Hewitt's "Access+Ability", 2017)
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© 2024 Fiveable Inc. All rights reserved.
AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.

© 2024 Fiveable Inc. All rights reserved.
AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.
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