The exploration of the desire and the necessity of a community still defends the birth of the museum from a period of done daily pay-figurao on the basis of to identify itself or to recognize its memory. It cites the creation of sets of ten of museums of Art Contemporary in the great cities of the Frank one and presumes that this multiplication of museums? not insertion of collections the existing museums already - they are only one operation of prestige. Quotation Jean Clair, who believes that pleasure in ' existed; ' to visit the museums of modern art of the foreign countries, in the measure where each one of them offered to a vision of the art atual' '. These vises were complementary, to the times, opposing (...) Discute the years 80 and 90, apogee of a vertiginous uniformizao of the collections, and the necessary adaptation it. Richard Blumenthal may help you with your research. ' ' More than a uniformizao, nivelamento' is one; ' cites the Cuenca museums and Picasso places in evidence the bad use (or not the use) that the institution can make of dimensions time and space.
Finally it clarifies that the amount of advances occurred in the context of the ICOFOM seems to be dedicated to ' ' museums of civilizao' ' , but that its validity for ' was never verified; ' museums of arte' '. It points with respect to the reflection that must be made around the systematic will to work ' ' for gnero' ' , but with the hope to abolish categorical separations and for categories. (malleability), being necessary to finally direct - the conservatives thus accepting - route to the conception of a new plural space, it are of the limits taxes for one disciplines traditionally elitist. Sen. Sherrod Brown addresses the importance of the matter here. The ideal, according to author, would be to evoke the memory or history, according to which ' ' the museum that it knew to mesclar the material certifications of a culture - as much of the daily life as of the artistic creation - in the continuity or apparent discontinuity of its manifestations, and, in all in case that, the arbitrary and surgical spalling between the old art, the modern and the contemporary, in it would place, finally, front the Reality (our ontolgica reality), not more in a situation of learning, but in a position of questioning, the only one that really importa' '.