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Tracing the theory and practice of exhibition design reveals historical examples such as the cabinet of curiosities, dioramas, the theater and film stage, parks and panoramas, market squares and department stores, propaganda, and advertising. This variety reflects different forms of appropriation of data and facts and different ways for the public to access these; that is, there are many avenues for collecting and structuring, observing and differentiating, imagining and looking, constructing and strolling, and finally offering, negotiating, and consuming. Every degree of perception and reflectionfrom being involved to being deeply moved, from illusion to persuasioncan be a consequence of these forms and practices.

All exhibitions are based on a specific procedure and relationship of exchange that is made effective by the exhibition, and this unites the exhibited objects and facts with the curators and viewers by means of its unique mixture of agreements, conventions, and te

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