A new kind of discussion has been coming up. Are you hearing it? It’s about the conflict between climate control inside museums — versus the climate crisis outside. Why is there a conflict? That will take a moment to explain. ...

Is there any organization for the exhibition field any more? A new initiative is picking up steam. Cybelle Jones, Steven Rosen, and George Mayer join host Jonathan Alger to discuss “A New Home for the Exhibition Community.” ...

What is the Paradox of Exhibitions? Exhibitions display collection items that we otherwise preserve and keep away from the public. We take them out of their drawers, their vaults. We bring them into the light. And while we do this, what happens? ...

Chronology is a common exhibition structure. But there are more twists on it than you think. Here are five ways to organize chronologically, starting with linear: events exhibited in the order they occurred. Maybe a flashback or two for clarity. Next ...

Smart car shoppers consider both the cost of buying it and the cost of owning it. Why isn’t that a more standard step for our exhibitions? The average monthly payment on a new car is about $735 right now. Youch. But what's it cost to operate that car? ...

What’s a raisin muffin mostly made of? Raisins? (Stay with me.) Despite the name, a raisin muffin is mostly not raisins. It’s mostly muffin. Star billing goes to the less common ingredient. So, in exhibitions, the Raisin Muffin Principle states that: ...

Quick, what are the elements that make an exhibition what it is? Artifacts? Not always. Science center and children’s exhibitions often have no collection items. Platforms and vitrines? Not if there are no artifacts. Frames? Same. Walls? Nope. ...

“The client’s role is not to solve the problem — it’s to state the problem.” Amy Weisser (Deputy Director for Strategic Planning and Projects at Storm King Art Center) joins host Jonathan Alger to discuss “The Client Side of Major Projects.” ...

What do exhibitions cost today, compared to before the pandemic? Compared to right before the pandemic, exhibition fabrication bids are still slightly higher today than they would be from inflation alone. But how much higher, and will that last? ...

Exhibitions, like documentary films, are primarily visual. You can watch a good movie with the sound off. Some films have no words at all. But you can’t have one with only words. Exhibitions are the same. Let’s test that real quick. ...

A student once asked me, “What percentage of technology should an exhibit be?” I replied, “37%”. When the student wrote this down, I rushed to say I wasn’t serious. I gave the real answer: it depends. It’s not 37%. But I will tell you another number that isn’t it: 100%. ...

Religion. Politics. Gender. Discuss. Controversial topics are part of the museum mission. And they attract public interest. But divisive themes can also cause bad PR, and jeopardize the mission. How can an exhibition court controversy with less risk? …

L is for Location. Organizing content by location is a common approach in exhibitions. An ancient art show organized by region, a hall of fame organized by state, a World’s Fair organized by country. But that’s just the start. Here are seven more. …

Which is more important? A. Space for what we exhibit. B. Space for our visitors. The retail researcher Paco Underhill became famous a generation ago when he identified the “butt-brush factor”. It’s something our visitors hate, but don’t consciously realize. …

In art, the Latin term “horror vacui” (fear of empty space) refers to the urge to fill a visual composition, leaving no areas empty. Exhibition planners often grapple with it. In modern art exhibitions, less so, but with most other types, it’s common. Beware the horror vacui! …

What’s awe? A blockbuster movie might be “awesome”. And we might be “in awe” of someone’s “awe-inspiring” talents. But what is it? An emotion. Awe is a hybrid of fear, veneration and wonder. Recognize that face? You see it a lot — in exhibitions. …

Can you get big press with a small budget? (Hint: Yes.) This episode is packed with literally dozens of ideas from a master of scrappy PR. Sarah Maiellano (Founder, Broad Street Communications) joins host Jonathan Alger to discuss “Scrappy PR for Museums”. …

Douglas Hofstadter is a scholar of cognitive science, physics and comparative literature. So what does he have to do with making cultural projects better? Hofstadter is known for many things, but the only law that bears his name is about project management. …

Let’s be honest. Lots of cultural project teams come up with lots of great ideas, have no idea what it will all cost, and wait until some milestone down the road to find out. Is it any surprise that “what comes back” is crazy high? Here comes the budget axe. …

Sure, we may say we’re in education. Or we’re in preservation of material heritage. Or we’re in advocacy. But exhibitions — call them experiences, or whatever you like — are the core reason most of our visitors visit. [Whispers:] We’re all in entertainment. …