Panel 1: Decolonising exhibitions

Decolonising exhibitions calls for a fundamental rethinking of how museums present histories, cultures, and knowledge systems. Traditional exhibition design often centres Western perspectives, displaying objects and narratives through a colonial lens that marginalises or misrepresents other worldviews. Addressing this requires museums to examine whose stories are told, who is excluded, and how power operates within exhibition spaces. Curators and designers are increasingly collaborating with source communities, inviting them to shape interpretation and display. This shift moves beyond simply adding diverse content toward transforming the very structures of authority in museums. By questioning established hierarchies and embracing multiple ways of knowing, exhibition design can become a more inclusive and equitable practice that acknowledges the complex legacies of colonialism while imagining alternative futures.

Collaboration with communities of origin stands at the heart of decolonising exhibition practice. Rather than speaking about or on behalf of others, museums are learning to work alongside people whose cultural heritage is held in collections. This involves shared decision-making around object care, interpretation, and display, as well as respecting traditional protocols and knowledge systems. Exhibition designers must adapt their methods to accommodate different cultural perspectives on how objects should be seen, handled, and contextualised. Such partnerships require long-term commitment, mutual trust, and a willingness to cede institutional control. When done thoughtfully, collaborative exhibition making not only produces richer, more accurate representations but also helps repair relationships damaged by histories of extraction and appropriation.

The physical layout and spatial design of exhibitions carry implicit messages about whose knowledge matters. Decolonising exhibition design therefore involves rethinking spatial hierarchies that privilege certain voices while silencing others. Conventional museum architecture often reinforces colonial narratives through monumental entrances, linear pathways, and authoritative display cases. Alternative approaches might include creating spaces for dialogue and multiple viewpoints, incorporating circular or non-linear navigation, and designing flexible environments that can be reinterpreted by different communities. Labels, lighting, and sightlines all contribute to how visitors understand and relate to what they see. By consciously designing for polyvocality, museums can transform exhibition spaces from sites of instruction into spaces of encounter, exchange, and critical reflection.

Language and labelling play a crucial role in decolonising exhibitions. Traditional museum labels often employ authoritative, neutral-sounding language that obscures the perspectives and biases behind object descriptions. Decolonising practice involves acknowledging multiple names, meanings, and interpretations for objects, and sometimes foregrounding Indigenous or local languages alongside colonial ones. Exhibition texts might include first-person accounts, community-authored statements, or critical commentaries that reveal the circumstances under which objects were collected. Designers must consider typography, text length, and placement to support rather than overwhelm these diverse voices. Careful attention to language also means avoiding euphemisms for violence, theft, or forced removal, and instead naming histories honestly while creating space for healing and restitution.

Decolonising exhibition design is not a fixed endpoint but an ongoing process of critical self-reflection and institutional change. Museums must continually question their collecting histories, staffing structures, and relationships with source communities. Exhibition teams benefit from diverse representation across all roles, from curators and designers to conservators and educators. Training in decolonial theory and practice helps staff recognise unconscious biases and develop more ethical approaches. Evaluation processes should include community feedback as a measure of success alongside visitor numbers. While challenges remain, including limited resources and institutional resistance, the growing commitment to decolonisation signals a profound transformation in museum practice. Ultimately, decolonising exhibitions is about creating spaces that honour complexity, foster mutual understanding, and contribute to justice and reconciliation.