The value of a work of art is intrinsically linked to the matter of which it is constituted and is entirely contained within its boundaries.

The possibility of appreciate this value, however, largely depends on the conditions in which the artwork is presented.

The museography studies and design these conditions.

Exhibit a painting on a large, homogeneous wall, or on a fragmented one, under a spotted or diffused light, on a light or dark background, changes the perception of artwork and changes its contextual reading.

Visitors of museums spend few moments in exclusive and direct relationship with a single work. Instead, they spend a large part of their time into a wide visual horizon consisting of all the artworks, the network of paths along which they run, the environments that contain them, and the objects around them.

Within this perceptive volume we find the space of communication, the space in which the curators of an exhibition or a museum director promote a precise reading key, choosing a particular sequence of works, highlighting some, grouping others etc. In other words, exercising the role of brokering between works and the public that necessarily, with more or less conscience, those who expose ends up assuming.

Museography is the lexicon through which this function of communicative mediation is interpreted.

And exhibition design is literally the way to giving a form to this language, declining it to the most appropriate local jargon, as to translate history, economy, habits and imaginations that visitors will adopt while judging what is exhibited in front of them.

Nexhibit Design project museums and exhibitions with this spirit. Helping curators and directors to exhibit their artworks with sobriety and safety conditions in a fair balance with the visitors needs in terms of enjoyment and comprehension, trying to overcome the fracture referred by Paul Valéry's "The problem of Museums" when he said:

Je n’aime pas trop les musées. Il y en a beaucoup d’admirables, il n’en est point de délicieux.
Les idées de classement, de conservation et d’utilité publique, qui sont justes et claires, ont peu de rapport avec les délices.

... In other words, we work to give back in the exhibition spaces a little delight.