Reimagining Visitor Experience with Object-Centered Approach
Adoration of the Shepherds, painted between 1570 and 1571, by Giorgio Vasari. When the museum reveals its reinstalled permanent collection, this altarpiece will be a focus object in gallery 16.
The Chazen Museum of Art is undertaking a comprehensive reinstallation of its permanent collection, slated for September 2026, that adopts an object-centered approach instead of traditional chronological and geographic organization. Each gallery will include a thoroughly researched artwork—a focus object—surrounded by a constellation of artworks from across time, media, and cultures with common connections. This change will provide multiple paths to engagement; encourage close looking and discovery; prompt contemplation, comparison, and contrast; and ultimately foster deeper connections between art and daily life. This new model for exhibiting the Chazen’s holdings will encourage museum visitors to explore the collection.
While the Chazen typically hosts several temporary exhibitions each year, the permanent collection galleries haven’t been reorganized in recent memory. Temporary exhibitions are on view for weeks or months and can be organized by other museums or organizations. The collection galleries hold artworks that are part of the Chazen’s own collection, and while individual artworks may go on or off view for various reasons, the collection galleries don’t change much—until now.
“The Chazen Museum of Art’s reinstallation represents a subtle, yet profound shift toward seamless engagement and demonstrates the art museum’s power to forge new understandings and actively engage with the rapidly changing world,” said Amy Gilman, director of the Chazen Museum of Art and senior director for the arts and media at University of Wisconsin–Madison. “As an institution committed to remaining nimble, taking risks, and adapting to change, the Chazen will present the permanent collection in a way that will make the museum experience more enriching and intellectually accessible for everyone.”
As a museum embedded in a leading research university, the Chazen leverages the expertise of UW–Madison faculty, staff, and students across diverse fields—from history and religion to material sciences and studio art—to guide its reinstallation. This collaboration is helping the Chazen successfully integrate new scholarship and maximize interdisciplinary connections with art.
The long-contemplated project began several years ago with curators and subject matter experts exploring the more-than-25,000 artworks in the Chazen’s care. The reinstallation highlights strengths in the collection, showcasing works previously less emphasized and weaving important threads through social history.
The reinstallation is rooted in visitor experience. As part of this effort, the staff is carefully considering what makes museums special alongside elements that might intimidate visitors. Staff have researched visitor interaction with artwork—from how long guests linger to contemplate works to the amount of time spent reading labels. One-on-one and small-group meetings with experts at UW–Madison and in the broader community ensure the reinstallation is structured to resonate with a wide range of perspectives. The Chazen will continue to gather visitor feedback through observation and surveys.
Using this valuable information, the Chazen is reinstalling its collection to spark wonder rooted in intellectual engagement. Visitors will recognize a refined focus that encourages seamless interactions with both objects and their accompanying labels. This thoughtful process ensures that while the space feels familiar, visitors will enjoy deeper and more-rewarding connections with the art, creating an elevated museum experience. With comfortable spaces in the galleries to reflect, visitors will have the opportunity to delve deeper into artistic processes and enjoy enriching conversations about the art world, ultimately fostering a more engaging art museum experience that both accurately explores the past and is easily adaptable for the present.
“The Chazen’s reinstallation highlights the art museum’s power to shape contemporary discourse and sets an important precedent for the museum field that other institutions can adopt or learn from as they respond to their own unique collections,” said Katherine Alcauskas, chief curator at the Chazen Museum of Art. “The Chazen’s reinstallation gives renewed attention to time-honored favorites from the collection, illuminating them with fresh perspectives from new scholarship. This approach will allow visitors to discover something new about familiar pieces and facilitate encounters with works that are new to them.”
The Chazen’s reinstallation will also make the educational components of art more legible to a wider community, emphasizing its connection to social issues and ability to illuminate other fields. Designed to significantly enhance the Chazen’s mission as a learning institution, the reinstallation mirrors object-based learning, a method the Museum has successfully employed with classes at UW–Madison. This approach illustrates how a single artwork can be considered across various disciplines. By mixing genres, mediums, and eras, the reinstallation provides a unique opportunity for collaboration, demonstrating how museums can actively enhance learning rather than simply serving as viewing spaces.
The Chazen proved the benefits of using a single work to prompt dialogue and navigate complex issues with “re:mancipation,” their first implementation of the single-object model to reframe a work in the permanent collection. The multi-year project included extensive research and educational materials; a documentary; and a 2023 exhibition that critically examined and reinterpreted Thomas Ball’s Emancipation Group, which shows Abraham Lincoln standing over a kneeling, partially clothed, formerly enslaved man. The Chazen paired the controversial 19th century sculpture with works from the Museum’s permanent collection and loans to confront its history and its place within the Museum. The initiative provided critical historical context, addressed themes of systemic violence and institutional racism, and included a new commissioned sculpture by artist Sanford Biggers in response. The exhibition was a major success, prompting a rise in visitation and receiving positive feedback. The Chazen’s permanent collection reinstallation aims to create similar dialogues with other works in its holdings.
“By redefining how museums can present their artworks, the Chazen Museum of Art at UW–Madison is offering a tangible roadmap for museums seeking new approaches to their collections,” said Amy. “We recognize that modern life often involves nonlinear exploration, and the Chazen creates an environment in which visitors can take the path that suits them best and explore at their leisure, inviting close looking and critical examination.”
With free admission, visitors can drop in often without the pressure of seeing everything in one day. By approaching artwork from different disciplinary perspectives, the reinstallation will enhance knowledge accessibility for visitors, creating various educational entry points for experiencing the beauty and complexity of the collection.
Contributed by Chazen Museum of Art. chazen.wisc.edu
Photographs provided by Chazen Museum of Art.
Chazen Museum of Art
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Madison, WI 53706
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chazen.wisc.edu