Light renders art visible in museums. At the same time, light also interprets. In this regard curators, architects, conservators, lenders, artists, and visitors often have differing expectations about how art should be appropriately displayed. This article is based on the aesthetics of image and exhibition and presents six categories of display-ranging from the objective reception of art to hyperrealism and the dynamic communication of art treasures. Differentiation occurs based on three aspects: The content within the artworks, formal aspects of the image medium, and the spatial and temporal surroundings of the work. By analyzing the artwork's brightness, contrast, and light atmosphere, curators can appropriately specify lighting for the room and exhibit to aesthetically establish a common link between the observer and the artwork or to realize a modification for emphasizing a conceptual idea. The analysis also offers criteria as to what extent the lighting concept communicates an authentic impression in relation to the perception of how the artist created the picture.
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