IntroductionWhen you look to the past in an attempt to quantify a metamorphosis in exhibition design, you notice that the space itself exists under the veil of intellectualism. The viewer is understood as an educated individual with an interest in a particular point in the story. Moving forward, it is notable to discover how the exhibition space itself has been reconsidered. This is due to advances in media and our methods of communication. There is no longer a great divide between artefact and audience. Object and participant merge in an energetic space of synergistic union. Ultimately, this is a reflection of the explosion of our media culture. As technology advances and media reforms continue, exhibition design must reflect these newly anointed curators. Predictable Experiences Investigating the history of exhibition design requires an understanding of the contextual ramifications. By controlling an exhibited object, the history museum gains social authority (Karp, Kreamer, and Lavine 149). The value is assigned to this artefact by its very positioning within the chosen space. By removing the object from its cultural and economic context, museums effectively transform these materials into art objects. This premeditated creation is often used to guide the viewer to reflect on the curator's intended message. When analyzing the museum of the past, all aspects must be considered, including the surrounding artifacts, enclosure, lighting, color, and the space itself. It is also important to understand the connection between these elements, as well as the relationship of these displayed objects to the viewer. There has always been a tendency to indulge in such space with formal relevance. It's the cu... middle of paper ......logic is a critical tool that will help us create the next generation of museums and give visitors the freedom to connect with objects, art and ideas on their own terms. Conclusion Museums built as formal venues for the display of authentic artifacts and a focus on cultural preservation are no longer the future ideal. Exhibitions designed for today's audiences must compete in an ever-changing marketplace surrounded by an expanding media culture. Consequently, the way contemporary exhibition is created must accommodate this change. Historic institutions, previously considered indifferent, are embracing technologies and strategies more often associated with cinematography and commercialism. Exhibition design is now synonymous with creating striking images, crafting compelling messages, and creating a remarkable connective experience.