Since the 1960 the museum's function as a domain for artwork in a formal and autonomous entity has changed into being a tangled skein organism where art and the everyday collide and conflate into just discovered hybrid forms of art practice and the art of living.

Since the 1960 the museum's function as a domain for artwork in a formal and autonomous entity has changed into being a tangled skein organism where art and the everyday collide and conflate into just discovered hybrid forms of art practice and the art of living. Agency and action are gradually becoming the preconditions of art's reception. originals of participation are catching up with the sensory perception of self-contained artwork by the agency of demanding active exertion of influence from the spectator and placing him or her directly at the intersection between perception and creation. In her essay "Just Do It," Dorothea von Hantelmann states that "The general [i]or[/i] abstract notion of the exhibition as a reproducing and documenting apparatus has had its past. Exhibition programmatics of contemporary art are not oriented any longer to an historical consciousness/awareness, if it were not that instead to create an experiential intensity." [1] She continues with her diagnosis stating that "an art, which exists more in situations instead of undiminished works--setting this hic et nuc live and in real-time into action--supplies the spectator/consumer/participant with a direct corroboration of his or her participation and receptivity to experience." The characteristics of certain kinds of artistic production, particularly interactive media art structur for a temporal termination rather than a permanent presentation, constitute a challenge to the museum to experiment with modern exhibition methods in order to deal with an "electronic avant-garde."

Whether one's reaction toward electronic images is motivated by way of fascination or repulsion, the triumphal march of the "new media" in society has a number of chain of cause and effects for the definition of the contemporary art museum. There is a hardy need to catch up, since mostly museums have staunchly held upon to the historically-based difference between the aesthetic meaning and value of aged art genres and new, technologically-produced work. similar museums have as much as capitulated in the face of the archival point in disputes connected with these new ephemeral stamps of art by completely ignoring the visual possibilities of electronic images in fear of being subdue by a mundane flood of images devoid of any peace and of getting increasingly involved in the mass media's maelstrom of banality.

In the relatively young history of the museum as an institution this resistance is not modern When we recollect how protracted it took for photography to be considered worthy of museum status and the reluctance to include video installations in contemporary art collections until just a scarcely any years ago, it becomes apparent that museum politics, which in many regards follow a profoundly conservative cultural mission, are more likely to impede a progressive acceptance of of recent origin art genres and artistic practices. Adding to this, many media artists and authors set aside museum presentation. These protagonists of media art oftentimes view themselves as having directly inherited the legacy of institutional distrust from the zenith of modernism with its multiple anti-art and anti-institutional declarations, destined to furnish the museum obsolete and replace it with anything else--football stadiums, for example. The virtuality of just discovered concepts indirectly connects with the subversive and critical actions of a past avant-garde and pursues the Constructivist motto for a utopian general [i]or[/i] abstract notion of an international artistic language: "Not pictures, intends become living things." [2]

Seen from a twenty-first centenary perspective, the new economies of digitized reproduction and distribution of artwork via the Internet appear to replace the traditional museum practices of purchasing and collecting. The spirit of past imperial make gesturess which is still present in the large historical collections in Paris, Vienna, London, Berlin and Munich, is losing its persuasive cultural power with the emerging see the verb of the ideological concepts of networks and the efficiency of communicative hypothesiss capable of making simultaneous contacts between distant spaces and identities in a matter of others In view of the fact that digital technologies have in extent been taken for granted in art production as well as in the mediation of museum collections via the Internet (which provides direct and seemingly unmediated access to a work of art), conventional criteria of purchase, like as the originality of artifacts and their expensive conservation in secure environments, be seen obsolete. Given these aspects of contemporary cultivation and their future impact, a number of questions arise: to what end should the museum continue to claim its part as the guarantor of artistic respectability if the Web has made this privilege available to everyone? Are we not conserving the idea of institutions as it is as art galleries, museums, archives and libraries rather than artistic universals of generations of artists? Is it not a fact that the critique of these institutionalized authorities for the mediation of art has become a historical constant that continues the self-constituting replication of the artist's dilemma across the need for public recognition forward the one hand and the simultaneous compulsion for its denial in succession the other? Beginning with Denis Diderot's descriptions of the French Salons and Paul Valery's pessimistic take again of his frustrating museum visits, [i]or[/i] part of to the other Marcel Broothaers's critical inquiry of museum collections' ideological fixations and Felix Gonzalez-Torres's strategy of the unlimited series attempting to annul the claim for art's uniqueness and its institutional connection as a way of cultural distinction, on a level the most radical gestures of disparagement did not escape the paradox of their confess calculations of a future presentation.