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About 1400 works on paper in the collection of the Kupferstichkabinett, Staatliche Museen zu Berlin were analysed for sheet dimensions and their aspect ratios and considered for storage- and handling-related damages. A new stacked enclosure system was developed for objects measuring up to 1350 × 950 mm to upgrade flat file storage, to reduce the risk of mechanical damage and improve the ease of handling in the museum study room and for exhibition preparation. Five defined standard dimensions for oversized artworks on paper and for enclosures and frames were introduced at the museum. They reflect the most common aspect ratios of 1:1.4 followed by 1:1.3. The new enclosure system consists of an outer shallow cardboard tray that holds up to five artworks enclosed in a folder. The folders are made either of cardboard, of a corrugated backboard and a cardboard cover, or of a corrugated backboard faced with museum board to which the object can be hinged; the latter serves as a mounting board for framing when the front cardboard cover is folded back. The trays are stackable. The corrugated cardboard walls of the tray retard the transfer of external relative humidity fluctuations into the stacked storage system. [ABSTRACT FROM AUTHOR]

When mounting large-sized objects on paper, there is often a risk that the work, if handled carelessly, touches the glass. This can result in damage to the paint layer. One way to prevent this is to mount with cross-shaped hinges made of Japanese paper attached to the centre of the verso of the object. In order to minimize tensions in the paper, the wheat starch paste can be applied by means of a stencilled-dot method or the 'micro-dot' method. After mounting the work on a backing board by means of the presented hinges the object is enclosed dustproof. The so-called package consists of glazing, spacer, mat, work of art and backboard. The additional framing is done with a mounting frame which gives particularly large-format framing sufficient stability. [ABSTRACT FROM AUTHOR]

Copyright of Artl@s Bulletin is the property of Purdue University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Indigenous Australian artist Tracey Moffatt's 3-minute short Vigil, part of her My Horizon show at the 2017 Art Biennale in Venice, captures the increasing fear, hysteria and obsession regarding the borders of Australian national identity in the new millennium. Moffatt's interest in Asian asylum seekers and refugees ties her critique of immigrant control into Indigenous exclusion, both of which define what is known as Fortress Australia. Taking the Australian particulars as its lead, this paper looks at the xenophobic rhetoric and practice that characterize so-called Fortress Europe, which rejects immigration and clamps down on its native minorities' claims for sovereignty. It narrows the analysis down to Fortress Spain, whose policies of exclusion affect immigrants as well as Peninsular ethnic minorities, such as Catalonia. In using Moffatt's video as a lead, this paper calls on art and literature as powerful means to unpack and rewrite identity from the margins of the nation. [ABSTRACT FROM AUTHOR]

Since 2008, the Melville Society Cultural Project has been acquiring original artworks inspired by Melville's writings for the Melville Society Archive at the New Bedford Whaling Museum. Limited to works on paper that can be stored in a flat file provided by the Research Library of the Whaling Museum, the Archive has nevertheless assembled a rich and diverse body of work that includes artist books and paper cuts, engravings and mixed media prints, and watercolor, charcoal, and mixed media drawings. Each of these artworks relates specifically to words or works by Melville visible on its surface or alluded to in its title. In each of these works, the white surface upon which the words or shapes were painted, printed, drawn, embossed, or erased is an active interpretive ingredient. The Archive artists whose works are discussed and reproduced here are from Greece, France, England, Canada and the states of Massachusetts, New York, Ohio, Kentucky, and California. [ABSTRACT FROM AUTHOR]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

Sample this: a hypothetical menu book of fish recipes from both sides of the Bengal border; a barbed wire running through the Ichhamati, showing the river's indifference to political borders; a sandstone and fabric pillar standing as a metaphoric monument of unity between religions, commemorating Gandhi's peace march in Noakhali in 1946; an accordion book opening out, unfolding narratives immortalised in Ritwik Ghatak's films. These are some of the artworks that were showcased at The Legacy of Loss: Perspectives on the Partition of Bengal, an Art Exhibition that the Kolkata Partition Museum Trust (KPMT) organised in collaboration with the Kolkata Centre for Creativity (KCC), to commemorate the 74th anniversary of India's Partition. The Exhibition ran from 17 to 29 August 2021 at KCC, and was supported by Tata Steel and the Emami Foundation. Conceptualised and conceived by the late art historian, Dr. Rajasri Mukhopadhyay, and curated by KCC, this was an unique Exhibition on the Bengal Partition by five contemporary artists – Paula Sengupta, Vinayak Bhattacharya, Debasish Mukherjee, Amritah Sen and Dilip Mitra – each with a distinct style and perspective on the theme. As Rajasri Mukhopadhyay put it, Partition provided 'the psychological topography for this Exhibition. The pictorial narratives ... [found here] are embedded in the geographical sites of ancestry, the physical border, the trajectories of nostalgia in refugee colonies, and stories of inherited memories.' This paper will delve into the uniqueness of this Exhibition and argue for the importance of the Arts in preserving cultural memory, something that KPMT strongly believes in. [ABSTRACT FROM AUTHOR]

Fung Ming Chip (馮明秋, b. 1951) is a contemporary artist based in Hong Kong who practices shufa (書法, lit. "the way of writing"). Traditionally, shufa is the art of writing Chinese characters with a brush on paper or silk; it is deeply connected to the arts of poetry and painting. However, the theories of making and viewing that undergird traditional shufa, as well as the stakes of its contemporary practice, remain largely unknown to Western audiences. This essay is a response to Fung's latest solo exhibition, entitled NumberS Series. It considers how Fung Ming Chip's latest works have moved beyond traditional shufa practice and language itself to examine the relationship between art and time. Unlike previous critical works that contextualize Fung's art with respect to Euro–North American art and art history, this article uses Fung's writings and early Chinese theories of aesthetics and ontology to establish that his art works in a distinctly non-Western manner that has its own relevance and perspective for a contemporary, global audience. [ABSTRACT FROM AUTHOR]

The article reviews the traveling exhibition "Paper Kimono Program and Art Exhibit" at the Fountain Valley Library in Fountain Valley, California.

Quartz (Amethyst), Jackson's Crossroads, Georgia, 2009; painted 1:1 at 18.5 cm across, watercolor, colored pencil on cardboard by Hildegard Königshofer. Art was born out of a desire or need for documentation or the presentation of knowledge in visual form. Quartz (Smoky Quartz), Microcline (Amazonite), Pikes Peak, Colorado, 2009; painted 1:1 at 13.7 cm across, watercolor and colored pencil on watercolor paper by Hildegard Königshofer. [Extracted from the article]

The annual international Bridges Conference is the preeminent meeting on the connections between mathematics and art, music, architecture, education and culture. Bridges 2022 was held at Aalto University and Helsinki University in Espoo and Helsinki, Finland. This five-day conference included invited and contributed talks, workshops, a juried art exhibition, musical performances, a short film festival, a poetry reading and family day. [ABSTRACT FROM AUTHOR]

This article examines the thematic scope and media-specific characteristics of media art by analysing it through one of this art exhibitions practices: the annual specialized media art exhibitions–festivals–conferences. An overview of media art terminology and a study of the evolution of technological art festivals provide a framework for exploring the themes of the three major festivals, Ars Electronica, SIGGRAPH, and the RIXC Art Science Festival. Comparative and contrastive analysis of the data has revealed that in many cases the festivals address specific themes in their calls for submissions of papers and artworks. This allows for a better assessment of the place of technology-oriented media art in the overall mainstream contemporary art and opens up a space for discussions about the pending recognition of media art that can broaden the thematic range of the entire art field. [ABSTRACT FROM AUTHOR]

The 'An Era in Jinling' Heritage Digital Art Exhibition, which focuses on the interactive virtual reality game environment created by the audience's experience, is an immersive digital art exhibition composed of the audience, the hardware system of the digital exhibition environment and the virtual digital environment presented. As a game-interactive immersive digital art exhibition in a heritage exhibition, it invites the audience to take a personal digital role in the exhibition and use the game-interactive method to enjoy an immersive digital exhibition. This paper aims to engage audiences through the 'audience-centric' exhibition of digital art, allowing them to use their senses to enjoy immersive exhibitions of digital art. This paper also demonstrates how digital art exhibitions of history can provide new insights to the general public in the preservation and exploration of cultural heritage. [ABSTRACT FROM AUTHOR]

The main purpose of this paper is to analyze and study the digital media art (DMAT) display design through the acquisition technology of 3D point cloud data of sequence images. This paper integrates digital media art to the display design, making the display design more colorfulness and promoting the development of the display design. The main method adopted in this paper is the 3D reconstruction technology based on sequence diagram, which includes image segmentation method and sequence feature extraction method. Through experiments, it is found that 3D point cloud data acquisition technology based on sequence images can effectively combine DMAT and display design, so that both can develop healthily. In the era of digital media, new thinking on display design, including how display designers should deal with and maximize the development potential of digital media in the face of new technologies and future viewing models. Research into DMAT and display design will have a huge impact on display art. It can be seen from the data in of this article that the development percentage of digital media art 2018 ranges from 9.8% to 15%. The range of the development percentage of digital media art 2021 is 17%-36%. It can be seen how the development of DMAT is very rapid, so it is urgent to study the display design of digital media. [ABSTRACT FROM AUTHOR]

In 2017 an exhibition of over 100 craft pieces created by Chilean political prisoners held in concentration camps during the military dictatorship, was launched in the UK along with an accompanying short film, 'Crafting Resistance: the Art of Chilean Political Prisoners'. Drawing on these arts-based interventions, the paper reflects on the use of craft objects both as a symbol of political resistance and a means of initiating difficult conversations around forced political exile, trauma and mental health while creating space for people to 'tell their stories'. Indeed, the paper contends that projects such as Crafting Resistance can 'care for knowledge' through the curation of craftwork while simultaneously creating space for counter memories. The analysis also highlights the changing relationship between the craft makers and the craftwork, argueing that placing the craft objects within the exhibition assigns a new role to the objects as they became part of a display of collective memories and potentially contribute towards collective healing. Finally, the paper advocates for greater recognition of the historical use of craft as a political expression, which to date has been relatively neglected in debates around the use of arts-based research and methods. [ABSTRACT FROM AUTHOR]

Multimodal learning analytics (MMLA) research has made significant progress in modelling collaboration quality for the purpose of understanding collaboration behaviour and building automated collaboration estimation models. Deploying these automated models in authentic classroom scenarios, however, remains a challenge. This paper presents findings from an evaluation of collaboration quality estimation models. We collected audio, video and log data from two different Estonian schools. These data were used in different combinations to build collaboration estimation models and then assessed across different subjects, different types of activities (collaborative‐writing, group‐discussion) and different schools. Our results suggest that the automated collaboration model can generalize to the context of different schools but with a 25% degradation in balanced accuracy (from 82% to 57%). Moreover, the results also indicate that multimodality brings more performance improvement in the case of group‐discussion‐based activities than collaborative‐writing‐based activities. Further, our results suggest that the video data could be an alternative for understanding collaboration in authentic settings where higher‐quality audio data cannot be collected due to contextual factors. The findings have implications for building automated collaboration estimation systems to assist teachers with monitoring their collaborative classrooms. Practitioners notesWhat is already known about this topicMultimodal learning analytics researchers have established several features as potential indicators for collaboration quality, e.g., speaking time or joint visual attention.The current state of the art has shown the feasibility of building automated collaboration quality models.Recent research has provided preliminary evidence of the generalizability of developed automated models across contexts different in terms of given task and subject.What does this paper addThis paper offers collaboration indicators for different types of collaborative learning activities in authentic classroom settings.The paper includes a systematic investigation into collaboration quality automated model's generalizability across different tasks, types of tasks and schools.This paper also offers a comparison between different modalities' potential to estimate collaboration quality in authentic settings.Implications for practiceThe findings inform the development of automated collaboration monitoring systems for authentic classroom settings.This paper provides evidence on across‐school generalizability capabilities of collaboration quality estimation models. [ABSTRACT FROM AUTHOR]

This paper examines the ethical value of artistic artifacts in challenging the unequal valuation of working bodies with a focus on the contemporary art exhibition 'Useless bodies?' by Danish artists Michael Elmgreen and Ingar Dragset. Drawing on Judith Butler's work and posthuman theory, particularly Braidotti's contributions, the paper argues that this exhibition exemplifies how art can foster an ethics of interdependency, one that both critiques dynamics of misrecognition and imagines alternative futures. Furthermore, the paper proposes that this affirmative and critical ethics provides theoretical and methodological foundations for work and organization studies, prompting new questions about the significance of embodiment, esthetics, and artifacts for conducting (ethical) research. [ABSTRACT FROM AUTHOR]

This paper proposes a network video transmission system for indoor art display systems and visual video monitoring. Due to the problems of high mean square error, poor signal capture performance, and long timing jitter in current optical transmission signals, this paper proposes a low-rate narrowband IoT long-distance communication synchronization capture algorithm and optimizes the algorithm. The algorithm improves the visual center processing algorithm with high computational complexity into a simple look-up table calculation. This can simplify the calculation process and improve the system's operating speed. Finally, the paper implements a video communication indoor art display system with compatible multiple network interfaces based on high-speed multimedia DSP. [ABSTRACT FROM AUTHOR]

The article informs about an art exhibition "Kara Walker: A Black Hole is Everything a Star Longs to Be" held at the De Pont Museum for Contemporary Art, Tilburg, the Netherlands from February 19 – July 24, 2022, which features of Kara Walker's drawings, and sheets of visual play.

During the Early Modern period, European explorers, merchants, and missionaries crossed the oceans across Asia, from the Malabar Coast in India to the Far East. It was a period of unprecedented artistic and cultural transfers between Europe, Africa, Asia, and the Americas, resulting in a dynamic and intense transmission of knowledge, beliefs, and the circulation of material culture. During the age of discoveries, the consciousness of multipolar political powers, and the development of scientific knowledge, art became instrumental to the formation of mutual perceptions and the representation of the 'other', both to the East and West. This paper aims to examine the processes of instrumentalization of art and artistic representation in the expression of political and spiritual utopias and the use of art to display the establishment of a new political and religious order and certainly to eloquently convince others to adopt new beliefs, accept new authorities, and conform to new cultural values. It also discusses how art and religious material culture became a mechanism to project political power, the triumph of the Church and personal devotion. [ABSTRACT FROM AUTHOR]

Art authentication is the process of identifying the artist who created a piece of artwork and is manifested through events of provenance, such as art gallery exhibitions and financial transactions. Art authentication has visual influence via the uniqueness of the artist's style in contrast to the style of another artist. The significance of this contrast is proportional to the number of artists involved and the degree of uniqueness of an artist's collection. This visual uniqueness of style can be captured in a mathematical model produced by a machine learning (ML) algorithm on painting images. Art authentication is not always possible as provenance can be obscured or lost through anonymity, forgery, gifting, or theft of artwork. This paper presents an image-only art authentication attribute marker of contemporary art paintings for a very large number of artists. The experiments in this paper demonstrate that it is possible to use ML-generated models to authenticate contemporary art from 2368 to 100 artists with an accuracy of 48.97% to 91.23%, respectively. This is the largest effort for image-only art authentication to date, with respect to the number of artists involved and the accuracy of authentication. [ABSTRACT FROM AUTHOR]

In order to better realize the effective display of painting art, this paper puts forward an interactive modeling method of structural sense of painting art communication from the perspective of media integration. From the perspective of comprehensive media, the painting art is spread and displayed, and the interactive evaluation index of painting art communication structure sense is constructed, and the interactive behavior evaluation model of painting art communication structure sense is constructed to realize the interactive modeling of communication structure sense. The experimental results show that from the perspective of integrating media, the somatosensory interaction mode of the communication structure of painting art is highly practical in the practical application process, which meets the research requirements and can realize the effective display of painting art in a modified way. [ABSTRACT FROM AUTHOR]

This paper analyzes the intermedial discourse in Morrison's novel Beloved. It brings to the fore the cinematic tropes with which Morrison's "politics of affect", to borrow from Massumi's syntagm, is interwoven. Drawing on Müller's concept of intermediality which shows the appropriations of art forms, this paper decodes Morrison's intermedial poetics. To engage with the trauma of history and the "Archive Fever," Morrison resorts to a visual medium, cinema, to weave a hybrid literary discourse that lies at the heart of the postcritical turn in cultural, literary and media studies. Filmic techniques such as "show, don't tell," "freeze framing," "close up," "dissolve," "off-stage" permeate Morrison's text. In Beloved, the infanticide is related through an "off-stage" strategy. Drawing on all these cinematic strategies, Morrison intertwines images, sounds, and words to relate the affective experience of the Sweet Home dwellers. For example, the strategy of one way communication of the cinematic language which leads to a closed communication enables Morrison to frame the marginality of her community. [ABSTRACT FROM AUTHOR]

Initially developed to approach art and cultural services as consumption acts, the experiential paradigm has been deeply developed in business-oriented fields, especially through the concept of customer value. But paradoxically, this application has been less systematic in the arts. This paper presents a review of how experiential value has been studied in the context of arts and culture. It first depicts, with quotations from the last 40 years, a challenge for researching customer experiences, as it is critical for marketing research and management but difficult to apprehend conceptually and empirically. Second, a literature review is made in two stages: quantitative with a bibliometric study on the Web of Science database and qualitative with a diachronic analysis of existing empirical studies of the main conceptual frameworks of customer experience. Finally, several considerations are presented as conclusions, and new research avenues are signaled to continue the inquiry on the experiential value of arts. [ABSTRACT FROM AUTHOR]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on an addition to the papers of American art gallery owner Richard Kuhlenschmidt at the Archives of American Art, which include photographs of letters from Las Vegas, Nevada casino signage. The author provides a brief biography of Kuhlenschmidt and discusses the gallery operated by Kuhlenschmidt and Tim Jancar in an apartment in Los Angeles, California, and the gallery he operated with Joan Simon Menkes in West Hollywood, California.

Malinche was an indigenous slave woman who helped Cortés communicate with and understand native chiefs during the conquest of Mexico. This paper analyzes the way the Denver Art Museum represented cultural metaphors of Malinche in visual culture in its 2022 show titled "Traitor, Survivor, Icon: The Legacy of La Malinche." The exhibition distinguishes five key metaphors in the reception of Malinche from the sixteenth century through today. The paper highlights the theme of Malinche as the mother of the nation and its diverse appearances in visual culture among the images displayed. The paper surveys the ways in which images of motherhood interact in museum space. [ABSTRACT FROM AUTHOR]

The study of clan paintings reveals a shift in perspective from art aesthetics to cultural connotations to cultural identity, yet literature seldom discusses the relationship between art and kinship culture. Taking the murals of ancestral hall architecture in Guangzhou as an example, this paper utilizes text mining to identify factors influencing its decorative art. It reveals the traditional rites' artistic expression through dimensions of characters' demeanor and the transmission of content values, offering a fresh perspective for heritage value research. Findings: (1) themes and implications are mostly oriented towards positive value transmission, transitioning from idealistic layman life to the realism of lower-class existence, emphasizing humanization; (2) the extroverted portrayal of characters contrasts with the dignified, restrained etiquette of traditional rites, with some characters' portrayal and facial expressions exuding approachability; (3) murals conveying positive emotions are mostly related to longevity, auspiciousness, fortune, and heroic deeds, while those conveying negative emotions mainly involve elderly male figures, reflecting a content bias related to characters; (4) historical allusion murals with complex content reduce the emotional resonance and arousal efficiency of the viewer; (5) incomplete mural content increases negative emotions in perceivers, highlighting the impact of mural preservation on emotional resonance. To delve into the formation of clan painting art, it is essential not only to interpret the diversity of its patterns but also to demonstrate the representation of its social attributes in decorative art. The formation of clan painting decorative art exhibits kinship cultural attributes, epitomizing the essence of traditional ceremonial thought. [ABSTRACT FROM AUTHOR]

Crisis management is a challenging and interdisciplinary task in which various information must be acquired and fused. In Germany, Civil Crisis Management is usually organized into two parts: the organizational‐administrative division and the operative‐tactical division, which are subordinate to the authorities (political) leadership. To organize an efficient and interdisciplinary response, crisis staffs can be called up. In these administrative crisis staffs, information sources are bundled, responsible experts collaborate and exchange information. To achieve a common understanding of the crisis, situational displays are created. Situational displays present the extend of the crisis and offer high‐level information required by the staff members. They can show the extent of the crisis area on maps or integrate other, for example numeric, information. This paper presents both state of the art in situational display creation and the most recent requirements in administrative crisis management. Data were collected through structured questionnaires and workshops regarding the tools for the creation of situational displays. For both data gathering methods, we were able to acquire active crisis management experts as participants. To determine the state of the art for situational displays for administrative crisis management staff we utilized structured questionnaires, which were answered by 14 crisis management authorities. Through two expert workshops with each nine participants, the requirements for situational display were collected. This paper compares the two datasets to evaluate the recent state of situational displays for administrative crisis staff in practice. The article summarizes usage of situational displays by practitioners and compiles lessons from the field. [ABSTRACT FROM AUTHOR]

Graphite on rag paper, 9.375 × 13 in. To see more of Tom Wudl's art, contact studio@wudl.net and lalouver.com FURTHER READING 1 Wudl, T. (2020). Pencil, acrylic paint, oil paint, aluminum leaf, and pure silver on vellum paper, 12 × 12.5 in. On the back cover: Tom Wudl, Boundless Oceans of Concentrations, 2009. The art of Tom Wudl reflects this commitment toward the sacred, resulting in jewel-like formations that float against delicate backgrounds on rice paper, reminiscent of an eternal landscape. [Extracted from the article]

With the development of science and technology, it brings more possibilities for artistic space design method innovation. The development of computer image data acquisition technology has realized the continuous extension of artistic space design and creation. Based on the computer image data collection technology, this paper realizes the innovative design of real and virtual environment in the exhibition of art space, centering on the interactive integration of the three elements of "human-objects-space." Through the experimental design, from the space, color data collection, display space moving line, and space function design scheme were the four aspects of exploration and analysis. Compared with traditional design methods, the following conclusions are drawn: first, in spatial data acquisition, the average error of area measurement is less than 3.63%, and the measurement accuracy can reach more than 91%. Second, the average accuracy of color detection of various materials in space can be maintained at 90%. Third, the spatial movement line designed in this paper is simple and clear, with appropriate length, so that visitors can achieve the best visiting effect with the smallest distance. Fourth, the overall design scheme is reasonable, the space is transparent and bright, and the tour route is clear. It can complete the functional zoning design of the art exhibition space in a short time, saving a lot of manpower and time. [ABSTRACT FROM AUTHOR]

• Extended reality fosters artists, curators to frame and contextualize exhibitions. • Extended reality allow new conceptualizations of exhibiting art. • Ways of presenting art through extended reality can form a continuum with exhibits. • Extended reality exhibitions interrelate media design, aims/scope and content. This manuscript addresses the increasing importance of Extended Reality (XR) in art exhibitions. It elaborates on the technologies employed, design issues, pertinent aims, and evaluation metrics. The main research questions concern the types of technologies currently used, the primary design considerations, and the ways user experience can be enhanced in accordance with the artists' and curators' vision, as well as visitors' needs. Moreover, the paper also examines relevant evaluation criteria. The manuscript reviews the types of technologies used for virtual art exhibitions and examines their design characteristics and pertinent issues on interfaces, resources, and affordances. Furthermore, an analysis of the use of virtual humans as a model for increased engagement follows a discussion of a comparison between virtual versus physical exhibitions. Moreover, the parameters that affect user experience are discussed thoroughly, given their pivotal importance in such exhibitions. Finally, the paper concludes with a discussion of the above-mentioned aspects of XR exhibitions with an emphasis on optimizing design for art-related content and offering informed suggestions for future directions. The overall scope of this paper is to examine ways to exploit XR as a creative medium rather than merely replicate physical exhibitions. In this context, the papers' discussion includes the Metaverse. [ABSTRACT FROM AUTHOR]