Bloch Galleries Summative Evaluation Report KEY FINDINGS | APRIL 2018
PROJECT PARTNERS
FUNDED BY
STUDY TEAM
This project was made possible through funding from the Marion and Henry Bloch Family Foundation.
Maia Werner-Avidon, MWA Insights Laura Brown, Nelson-Atkins Museum of Art Alyssa Carr, Nelson-Atkins Museum of Art
GRAPHIC DESIGN ©The Nelson-Atkins Museum of Art 2018
Emily Marsh, The Sketchy Pixel
Contents 5 | INTRODUCTION Overview Visitor Engagement Strategies Visitor Outcomes
8 | S T U DY O V E RV I E W Methods Participant Demographics
10 | KEY FINDINGS Overall Experience Engagement with Interpretive Components Evidence of Learning Evidence of Emotional Impact
2 2 | I M P L I C AT I O N S  
Paul Cézanne, French (1839–1906). Quarry at Bibémus, 1898–1900. Oil on canvas, 25 ¾ x 21 ½ inches. Gift of Henry W. and Marion H. Bloch, 2015.13.7.
Introduction O V E RV I E W The Nelson-Atkins Museum of Art is where the power of art engages the spirit of community. The Nelson-Atkins Museum of Art is recognized as one of the world’s finest encyclopedic art museums. Its collections encompass more than 40,000 art objects, including masterpieces from diverse world cultures spanning 5,000 years of history. Well known for the arts of China and also Japan, South and Southeast Asia, the museum also holds significant works from European, American, American Indian, and African traditions along with a magnificent photography collection. The Nelson-Atkins also boasts strong modern and contemporary collections with a major emphasis on sculpture that supports the Donald J. Hall Sculpture Park, which includes over 30 monumental works. The encyclopedic collection represents a pinnacle of artistic achievement and serves as evidence of humankind’s history, religions, philosophies, aspirations, and daily lives. In June 2015, The Nelson-Atkins Museum of Art welcomed into its collection 29 masterworks by leading Impressionist and Post-Impressionist artists. The Marion and Henry Bloch Collection, acquired over the course of 20 years, was among the few outstanding collections of Impressionist and Post-Impressionist art remaining in private hands. The Nelson-Atkins Museum of Art is the grateful recipient of this transformative gift, which inspired a major renovation of the museum’s 19th- and early-20th-century European galleries. The new Bloch Galleries offer visitors an immersive experience with the Bloch Collection masterpieces,integrated into the museum’s rich collections. The new galleries are made possible by funding from the Marion and Henry Bloch Family Foundation.
Edgar Degas, French (1834–1917). A.-A. Hébrard et Cie., foundry, French (1907–37). Grand Arabesque, Third Time (First Arabesque Penchée) (detail), modeled ca. 1882–1895; cast 1919–1921. Bronze, 17 7/8 x 22 x 11 1/2 inches. Gift of Henry W. and Marion H. Bloch, 2015.13.8.
INTRODUCTION
5
V I S I T O R E N G A G E M E N T S T R AT E G I E S Gallery+ bench-mounted iPads
This renovation project presented staff with the opportunity to experiment with visitor engagement and interpretation strategies, including: ▪▪ Gallery+ bench-mounted iPads located in the Impressionist galleries to provide layered content and activities for in-depth exploration of the art, artists, and historical context of the time. ▪▪ Digital interactives allowing visitors to engage with artworks in new ways, such as:
Digital interactives
▪▪ In the Details: Located in the Modernism gallery, this touchscreen enables visitors to zoom into and freely explore ultra-highresolution images of works on view. ▪▪ Color Composer: Inspired by and located near an artwork by Wassily Kandinsky, visitors construct a digital painting that comes to life as an animated soundscape. ▪▪ Printmaking: Located in the Works on Paper gallery, this iPad features bite-sized GIF animations that illustrate the steps involved in producing different types of prints.
▪▪ Detour app that uses location-aware technology to provide visitors with new immersive tours and audio stops integrated alongside existing content.
Detour app
Revised text panels
▪▪ Revised text panels incorporating a more readable, accessible, and eye-catching template and descriptive titles to better convey the themes of each gallery.
VISITOR OUTCOMES The museum identified the following three desired visitor outcomes for the Bloch Galleries: 1 | Visitors will understand the key concepts articulated in the galleries: ▪▪ Art is shaped by the historical, social, economic, technological, and political contexts of the time. ▪▪ Art of this period included a diversity of artistic styles. ▪▪ Art of this period evolved and progressed over time.
2 | Visitors will find that the interpretation in the Bloch Galleries is
appropriate to and helps to expand their level of knowledge surrounding European art from 1750 to 1945. 3 | Visitors to the Bloch Galleries will experience an emotional
connection to the art. To understand the extent to which the newly-renovated Bloch Galleries achieved these outcomes and to identify best practices that can potentially be incorporated throughout the museum, the NelsonAtkins contracted with MWA Insights to conduct a summative evaluation of the renovated galleries. This summary report highlights a selection of key findings from the larger study.
Edouard Manet The Croquet Party, 1871 Oil on canvas, 18 x 28 ¾ inches Gift of Henry W. and Marion H. Bloch, 2015.13.11.
KEY FINDINGS
7
Study Overview METHODS Gallery Debrief Interviews (n=91) Museum visitors were randomly selected as they exited the galleries and asked to participate in an interview about their experience.
Personal Meaning Maps (PMMs) (n=85) Participants were randomly selected as they entered the gallery and asked to respond to the prompt “European Art 1750 to 1945” through a written brainstorming exercise and followup interview both before and after their visit to gauge their understanding of key concepts covered in the galleries.
Russell Affect Grid (n=85) Visitors that participated in the PMM exercise were also asked to complete the Russell Affect Grid. Visitors were asked to use a 9 x 9 grid to plot their current emotional state along two dimensions—1) pleasure to displeasure and 2) high energy to low energy— both before and after their visit to the galleries.
Focused Interpretive Strategy Interviews For the three main in-gallery digital interpretive elements (Gallery+, In the Details, Color Composer), visitors using the components were asked to participate in a focused interview that specifically explored their experience with the components. A total of 74 interviews were conducted (29 for Gallery+, 25 for In the Details, and 20 for Color Composer).
8
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
PA RT I C I P A N T D E M O G R A P H I C S In general, visitors in the Bloch Galleries Summative Evaluation sample were similar to the museum’s general visitors in terms of age, ethnicity, and education levels, as measured through a 2016 exit survey project funded by the Ewing Marion Kauffman Foundation. There were, however, a few noteworthy differences between the two groups. Participants in the Bloch Galleries Summative Evaluation were more likely to be first-time visitors to the museum (40%) than those in the exit survey study (24%). Related, Bloch Galleries study participants were more likely to be tourists from outside the 15-county Kansas City metropolitan area (53% in the Bloch Galleries study, compared to 31% in the exit survey) and were also less likely to be members (13% in the Bloch Galleries study, compared to 28% in the exit survey).
Bloch Galleries Sample (Gallery Debrief Interviews and PMMs) General Museum Sample (2016 Exit Survey)
AGE
Generation Z
ages ≤19
11% | 7%
Millennials
Generation X
Baby Boomers
Silent Generation
ages 37–52
ages 53–71
ages 72+
14% | 17%
35% | 33%
6% | 11%
ages 20–36
34% | 32%
NOTABLE DIFFERENCES EDUCATION LEVEL
ETHNICITY
VISITOR ORIGIN
FREQUENCY OF VISITATION
MEMBERSHIP STATUS
First-time Visitors
Member
College Graduate
White
Tourists
61% | 66%
78% | 85%
53% | 31%
40% | 24%
13% | 28%
STUDY OVERVIEW
9
Key Findings OVERALL EXPERIENCE FINDING #1
Visitors had high satisfaction with their experience in the Bloch Galleries. In addition to the quality of the artwork itself, visitors noticed and appreciated the gallery design, including the open flow, lighting, and wall colors. Visitors also perceived the approach to interpretive text and integration of the decorative arts (in addition to painting and sculpture) as enhancing the visitor experience.
Overall Experience Rating The study used the Overall Experience Rating (OER) measure to ascertain visitor satisfaction. The OER is a simple satisfaction question developed by audience researchers at the Smithsonian Institution’s Office of Policy and Analysis. Study participants were asked to rate their overall experience in the Bloch Galleries on a five-point scale (Poor, Fair, Good, Excellent, Superior). The OER allows us to distinguish the most enthusiastic visitors (i.e., those who gave “Superior” ratings) from those who are simply satisfied (i.e., those who provided “Excellent” ratings). More than one-third of visitors (36%) rated their overall experience in the Bloch Galleries as “Superior”, while 55% of visitors gave “Excellent” ratings. Typically, when analyzing OER ratings, “Poor,” “Fair,” and “Good” are combined to create one category of “Less than Excellent,” representing visitors who were dissatisfied with their experience in some way. In this study, however, only 9% of visitors rated their overall experience as “Good”, and no visitors gave “Fair” or “Poor” ratings.
10
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
How would you rate your overall experience in the Bloch Galleries? Superior
Excellent
36%
Less than Excellent (“Good”) 55%
9%
Reasons for Providing a High Overall Experience Rating Visitors were then asked to explain the reason for their rating. Most commonly mentioned were the high quality of the art, the caliber of the artists, and the overall gallery design. Throughout the study, there was also evidence to suggest that the integration of the decorative arts as well as the approach to the interpretive text also enhanced the visitor experience.
Why did you provide that rating?
53 % 44 %
of visitors mentioned the high quality of the art/artists.
“The quality and the variety of different
of visitors mentioned the gallery design.
“ The installation and also the intimacy we can
artists. I was really blown away. I wasn’t expecting that range of artwork.”
have with the paintings. It really is like viewing a private collection.”
16 %
of visitors mentioned the interpretive text.
“ What I’ve really liked so far are all the descriptions
of the art forms, so you can see the history of it over time and you can see the thinking behind it.”
KEY FINDINGS 11
ENGAGEMENT WITH INTERPRETIVE COMPONENTS FINDING #2
Visitors reported thorough use of analog interpretive elements (e.g., object labels, wall panels) and generally preferred them as a way of receiving content. In renovating the Bloch Galleries, the Nelson-Atkins took the opportunity to experiment with new visitor engagement and interpretation strategies, including both digital and analog elements. The evaluation study sought to understand how visitors were using these interpretive components and what their general preferences were for how to engage with interpretive content in an art museum. There were no analog interactive experiences (e.g. tactile experiences, hands-on interactives, etc.) in the Bloch Galleries, so we cannot draw conclusions about visitors’ preferences related to those types of experiences.
Use of Interpretive Elements
Example of a Wall Panel
Visitors were more likely to report using the traditional, printed analog interpretive materials, such as object labels and wall panels, than the digital elements. About 40% of visitors reported using at least one digital element.
Percent of visitors reporting using interpretive elements Color Composer (digital interactive)
+16 +13+ 5 98+ 84 22+ 21 +
79+ 78 +16+ 2+ 95 +87+ 84+
Object Labels
98%
Wall Panels
16%
Printmaking (GIF animations)
84%
In the Details (digital interactive) 22%
13%
Detour app (location-aware immersive walks & multimedia content) 5%
Gallery+ (layered digital content and activities) 21%
12
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
Thoroughness of Use Similarly, visitors reported using analog interpretive elements, particularly object labels, more thoroughly than digital interpretive elements. (The sample of users who reported using the Detour app was too small to draw conclusions about thoroughness of use.)
How thoroughly did you use each interpretive element? (Users only) THOROUGHLY 59%
Object Labels Wall Panels
41%
Color Composer (digital interactive)
39%
Gallery+ (layered digital content and activities)
14%
18%
39%
21%
42%
24%
23%
23%
10%
31% 41%
34%
In the Details (digital interactive) Printmaking (GIF animations)
MODERATELY MINIMALLY
55%
16%
70%
Preferred Content Formats Consistent with their self-reported behaviors in the galleries, when presented with the list of options for content formats, visitors indicated that they preferred to engage with content via traditional methods (e.g., object labels, wall panels, handbooks, guided tours, and audio tours). Object labels, in particular, were preferred for providing just-in-time information (when and where the visitors want it) in close proximity to the art.
Which of the following ways do you prefer to receive information in a museum? (Select 3)
79+71+43+33+31+16+9+9+7+ 79%
Object labels describing specific works of art
Wall panels describing the overall gallery
71%
43%
Guided tours with a museum docent Handouts/handbooks
33%
Audio tours
31%
iPads/tablets with deeper content
16%
Way to bookmark digital content to access later
9%
Website accessed from home
9%
Website accessed on-site from your own device
7%
KEY FINDINGS 13
FINDING #3
Although self-reported use of and, in some cases, engagement with digital elements was lower than analog elements (e.g., labels, panels, etc.), visitors responded positively to the inclusion of digital components in the galleries. Visitors liked that the digital components were available for other users, even if they did not themselves engage with them. Additionally, the youngest visitors (Generation Z) tended to take greater advantage of the digital components, with nearly 3 out of 4 Generation Z visitors reporting using at least one digital element.
Response to Digital Inclusion Regardless of whether they engaged with the digital components in the galleries or not, nearly all visitors saw them as a positive addition to the gallery experience. Visitors saw digital components as benefiting kids and younger adults; those who are tech savvy; those who desire deeper content; those who are less familiar with art; or those with differing abilities or learning styles.
In general, how do you feel about the inclusion of digital components in art galleries? (some responses fell into more than 1 category)
48 %
of visitors felt that digital components offer value for others (even if they were not personally interested in using them).
“I think it is really cool and I think it’s really
helpful, especially for kid, as well as adults… I’m not a super techy person though, so I don’t really think about using all of that. My way of soaking up the experiences is just observing and looking at the art itself.”
46 %
ONLY
10 %
14
of visitors felt digital components had the potential to personally enhance their art museum experience.
of visitors reported a negative reaction to the inclusion of digital components in the galleries.
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
“It kind of makes it accessible to us. In
a museum, it’s kind of like, ‘don’t ever touch, just look.” And this one is like, ‘here, come touch this instead.’”
“I also kind of feel like it…
takes away [from] the pieces themselves.”
Digital Users There weren’t many demographic or psychographic differences among visitors in terms of who did or did not use digital components. One notable difference was that visitors in Generation Z (born after 1998) tended to be digital users.
72+ 33 46 36+ 36
Percent of visitors who used any digital component (by age) 72%
46%
36%
33%
Generation Z
ages ≤19
Millennials
ages 20–36
36%
Generation X
Baby Boomers
Silent Generation
ages 37–52
ages 53–71
ages 72+
FINDING #4
Digital experiences that go beyond added content and invite visitors to engage with or see things about the art in ways that are not possible in normal viewing contexts can be highly impactful. Digital experiences work best when they are clear and intuitive, behaving in predictable ways in response to the user, and when the experience matches the visitors’ expectations and desires during that moment of their visit. Offering a range of in-gallery experiences that strive for clear connections to the surrounding artworks can enhance the visitor experience. Focused interviews for three of the digital elements (Gallery+, In the Details, and Color Composer) generated insights into the types of digital experiences that are most impactful, and where challenges can arise.
In the Details Visitors zoom into and explore high resolution images of artworks In the Details was the most successful of the three digital components explored through this study. Participants had a clear idea of what they would be able to do here and tended to approach the experience with a clear reason for engaging. Participants appreciated the clear connection between the digital component and the art and felt that it allowed them to view and engage with the art in ways that are not permitted or possible in normal viewing contexts.
“You could see everything in the painting when you
really looked into it. It was just nice to get that personal experience with the art.”
“I definitely think you have a greater appreciation. You
know, paintings can look simple until you zoom in and see the fine detail and then you realize how complex they really are.”
16
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
Color Composer Visitors create a digital painting that comes to life as an animated soundscape Participants liked the idea of Color Composer, although the functionality resulted in a less positive user experience. Participants were clear on the experience being offered, had clear reasons for engaging, and liked having the opportunity to have a hands-on, interactive, creative experience in the galleries. Many became highly invested in their creations. However, the lack of clarity about the “rules” of the interactive was frustrating to users. There was also a missed opportunity to draw a stronger connection to the related artwork.
“I just don’t think I’ve seen anything quite like that, where you can make your own art there, at a museum.”
“I felt like the user interface was a little clunky… but on the
whole, I thought it was cool that it was there. It’s one of the better interactive computer things that I’ve seen.”
Gallery+ Visitors explore layered content and activities Although participants appreciated the added content and activities in Gallery+, they also struggled somewhat with this experience. There seemed to be less clarity about the purpose of the device, resulting in fewer visitors who approached with a clear purpose. Perhaps as a result, visitors perceived of their engagement with Gallery+ as minimal and struggled more than users of the other digital components to see how this resource enhanced their experience in the galleries or impacted their experience of looking at the art.
“We did only use [it] a little bit, but... it is nice to have
just an added feature to experience. I knew the art was going to be here, but I didn’t know things like this were.”
“It was a fun added experience to enjoying the art also.”
KEY FINDINGS 17
EVIDENCE OF LEARNING FINDING #5
About half of visitors entered the galleries with some kind of misconception about European art from 1750 to 1945. Encouragingly, after leaving the galleries, some visitors recognized and acknowledged their previously held misconceptions, and almost no visitors articulated new misconceptions. Personal Meaning Mapping (PMM) is a tool developed specifically to assess museum learning in which an individual’s knowledge and views about a topic are investigated both prior to a visit to an exhibition or set of galleries and again after the visit. Through the PMM exercise, participants were asked to respond to the prompt “European Art 1750 to 1945” through a written brainstorming exercise both before and after their visit. Analysis of the pre-visit PMMs revealed that nearly half of visitors entered the Bloch Galleries with some misconceptions about what is included in European art from 1750 to 1945. Visitors mentioned artists, artistic movements, or specific artworks that were not from the time period or geographic region. Even more commonly, visitors mentioned themes that are not strongly associated with this time period, particularly religious-themed artwork. Encouragingly, when given an opportunity to modify their PMMs after the visit, about one-fifth of all PMM participants acknowledged some of their previously held misconceptions, indicating that what they saw in the galleries was surprising or different than they expected.
18
46%
of PMM participants entered the gallery with misconceptions about what is included in European Art from 1750 to 1945.
22 %
of PMM participants acknowledged some of their previously held misconceptions upon exiting the galleries.
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
ONLY articulated new misconceptions after leaving the galleries.
1%
FINDING #6
PMMs showed evidence of content knowledge gain. Visitors were able to speak about European Art from 1750 to 1945 in more depth and had greater awareness of key concepts after visiting the galleries. Visitors attributed their knowledge gain to the art itself and the interpretive text.
Personal Meaning Map Scores Each PMM was scored along three dimensions: 1) breadth of understanding (e.g., number of conceptual categories mentioned); 2) depth of understanding (e.g., how detailed and complex visitors’ explanations were); and 3) holistic mastery (e.g., overall understanding and expression of key concepts). While there was no change in breadth from pre- to post-visit, participants did show significant growth in their depth and holistic mastery scores after visiting the galleries.
Breadth
Depth
Holistic Mastery
Number of conceptual categories mentioned
Detail and complexity of explanations
Overall understanding and expression of key concepts
PRE4
3.6
3
POST3.6
PRE-
2
0
PRE-
POST-
3 2.4
2
1
POST-
3 1.8
2
1
1
0
0
1.5 1
Impact of Interpretive Elements on Learning Visitors were asked which aspects of their experience most contributed to their knowledge expansion. Direct engagement with the art and interpretive text were most often mentioned as contributing to knowledge gain, followed by the organization or display of the art and then digital interpretive components. About 1 out of 10 visitors specifically called out the integration of the decorative art as supporting their growth in knowledge. About 11% of visitors were not able to identify anything that specifically contributed to their knowledge gain.
Was there anything you engaged with in the galleries that especially contributed to your knowledge growth?
54 %
of visitors described how the art and artists impacted their knowledge growth.
“It was just nice to actually be intimate
50 %
of visitors credited the interpretive text with contributing to their knowledge growth.
“The explanations next to the pieces of
and be up close with [the artworks].”
art are written for the non-arrogant artist type. I love that.”
KEY FINDINGS 19
FINDING #7
After visiting, 40% of visitors described one of the key concepts identified by the museum as the main messages of the galleries. When asked to identify the main message of the galleries, just over 40% of visitors described one or more of the three key concepts identified by the museum: ▪▪ Art is shaped by the historical, social, economic, technological, and political contexts of the time. ▪▪ Art of this period included a diversity of artistic styles. ▪▪ Art of this period evolved and progressed over time.
What would you say is the main idea or message of this set of galleries?
26 %
of visitors mentioned that art of this period evolved and progressed over time.
“I thought it kind of helped you see the evolution of art and how the
movements developed throughout the different time periods.”
18 %
of visitors mentioned that art of this period included a diversity of artistic styles.
“Not all European art is the same.
It’s not all portraits of old people. They actually do have ones where the artists are thinking outside the box.”
12 %
of visitors mentioned that art is shaped by the contexts of the time.
“Art was a reflection of society at the time and you could see the shifts.”
Eugène Boudin, French (1824–1898). The Beach, ca. 1865. Pastel on paper, 7 ½ x 11 5/8 inches. Gift of Henry W. and Marion H. Bloch, 2015.13.2.
20
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
EVIDENCE OF EMOTIONAL IMPACT FINDING #8
The evaluation study also provided evidence that visiting the Bloch Galleries has a positive effect on mood or emotional state. Visitors reported increased feelings of pleasure after visiting the galleries, primarily seen as resulting from engagement with the art. Using the Russell Affect Grid, visitors were asked to assess their emotions along two dimensions: 1) pleasure to displeasure and 2) high energy to low energy. Visitors reported significant increases in pleasure after visiting the galleries. While some visitors reported higher energy levels (e.g., finding the experience exhilarating and stimulating), others reported lower energy (e.g., feeling tired, depleted or calmer) after visiting. When asked what they engaged with that impacted their emotional state, almost all visitors mentioned engagement with the art.
57 %
of visitors reported an increase in feelings of pleasure after visiting the Bloch Galleries.
“[I felt] more pleasure, calm, peace. Calmed by the beauty. Energy down in a good way, pleasure is up in a good way.”
“Beautiful painting makes you feel more relaxed and happier.”
86 %
of visitors mentioned engagement with the art as impacting their emotional state.
“It’s exhilarating. I love it. A visual treat.” “Feast of the eyes, an amazing collection.” “Seeing the talent of the artists. Reminds me
of the unique capacity of man to create art.”
KEY FINDINGS 21
Implications As The Nelson-Atkins Museum of Art continues to experiment with gallery design, interpretive text approaches, and the integration of in-gallery technology, the findings from the Bloch Galleries Summative Evaluation will provide important information to consider. The following implications underscore some of the key takeaways from this project. Consider replicating aspects of the Bloch Galleries in other areas of the museum. Several aspects of the gallery experience in the renovated Bloch Galleries were successful and could possibly serve as a replicable model for other gallery reinstallation projects. Specifically, the integration of the decorative arts, the interpretive text approach (encompassing design, content, and tone), and the overall gallery design (open flow of galleries, paint colors, lighting, etc.) were all called out as highly impactful to visitors.
Consider visitors’ prior knowledge when thinking about content and gallery organization. Based on visitors’ pre-visit Personal Meaning Maps, we know that many visitors have difficulty placing artists as well as artistic styles and movements within historical time periods. It may be worth discussing what implications this might have on how the museum chooses to organize its galleries or deliver its content. In what ways can gallery installations address common misconceptions?
22
BLOCH GALLERIES | SUMMATIVE EVALUATION REPORT
Explore how digital components can best be designed to both attract visitors and enhance their experience. Variation in the self-reported use and engagement with the digital components raises questions about the types of digital experiences that may have the greatest impact in the museum’s galleries. Visitors are interested in just-in-time content when and where they want it, and they desire experiences that offer them new insights into the art around them. The museum should explore not only the types of digital experiences it offers, but also the best mode of delivery and location. The museum should also consider how to best market these experiences to ensure that visitors are aware of the full suite of experiences available to them. Additionally, the following specific recommendations should be considered in the design of future digital interpretive components: ▪▪ Use digital resources to invite visitors to see the art in new ways: Digital elements can go beyond providing added content and invite visitors to get up close and discover things about the art that they cannot see with the naked eye. ▪▪ Focus on clear and intuitive experiences: Having a clear understanding of what a digital component offers is important to aid visitors in choosing how they want to spend their time and may also influence their depth of engagement. ▪▪ Think about the relationship of location and experience: Consider the best types of experiences to offer in various locations throughout the galleries and reflect on the appropriate tone, type of experience, and amount of content to include. ▪▪ Offer a variety of digital experiences in the galleries in close proximity to the artwork: Visitors are interested in a range of digital experiences (e.g., those that provide deeper content, creative opportunities, close-looking at artwork, understanding of the artistic process, etc.) offered within the galleries, such that the learning that those digital resources provide can be easily accomplished alongside the related artworks.
IMPLICATIONS 23