Intern Weekly Response: DC Field Trip

Posted on August 2nd, 2018 by

Every week we’re asking our summer interns to share some thoughts and responses to various experiences and readings. This week we asked them to share about their recent field trip experience to the National Mall in Washington, DC. To read more posts from JMM interns, past and present, click here.

Turning Up the Volume on Indigenous Voices

~Intern Marisa

I’ve already written a little bit about our trip to DC in my blog post last week in which I discuss the Dragons in Art tour we took at the National Gallery of Art and the value of an interdisciplinary approach to programming.

Today though, I’d like to talk about what I saw at the National Museum of Natural History that I thought was really well done: how the museum gave a platform for indigenous voices. I saw this in two of their exhibits: Narwhals: Revealing an Arctic Legend and Objects of Wonder

In the Narwhals exhibit, the National Museum of Natural History did a couple of different things to help highlight Inuit voices. First, they took an interdisciplinary approach to the exhibit, and displayed Inuit art and described legends that depict the cultural importance of the Narwhal.

This image shows Germaine Arnaktauyok’s illustration entitled A Woman Who Became a Narwhal based on an Inuit legend from their oral tradition, that tells of a wicked mother who was transformed into a Narwhal.

Second, they explored the fascinating relationship between Inuit cultural knowledge and science, and how it is Inuit cultural knowledge that informs science, rather than the other way around. For instance, it has been culturally known, through experiences and stories passed down in the Inuit communities, that the narwhal’s tooth [which looks like a horn] can actually bend. The scientific community then put this to the test and confirmed this piece of cultural knowledge. The museum made sure time and time again in that exhibit to validate and display how Inuit cultural knowledge has helped science learn more about narwhals. Third, and most importantly, is that the museum worked directly with the Inuit communities in the creation of the exhibit. They had interviews and videos, art and stories, some of which was done for the express purpose of this exhibit; this allows the Inuit communities to shape their own narrative and share it with a larger audience who may not have heard their voices otherwise.

So, the Narwhals exhibit is a fantastic example of how to work with indigenous communities whose culture and technology are still intact and preserved, but how can the museum help communities that have lost that, for any number of reasons? In the exhibit, Objects of Wonder, the museum shows us one of the coolest collaborations. I should say first that the Objects of Wonder is a sort of exhibit of smaller exhibits, with an overarching goal of teaching visitors about the museum’s vast collection and how those items ended up at the museum. One of these small exhibits within the exhibit was on the fishing ring net weights of the Wanapum Band of Priest Rapids.

This photo shows a Wanapum Band fishing ring net weight on display at the National Museum of Natural History in D.C. This smaller exhibit inside Objects of Wonder gives an example of how cultural institutions can work with communities to help preserve and support their culture.

The community had lost this technology due to the creation of a United States government plutonium facility that “forc[ed] the Wanapum to relocate.” In 2015, members of this community traveled to the museum to study one of the only remaining examples of this technology with the goal of reverse engineering it and bringing this traditional practice back to their community. The collaboration between the Wanapum and the museum, which was discussed thoroughly in the display, not only highlights the plight of forced relocation of Native American populations, but also how cultural institutions can work with these communities to preserve and support their culture.

With these two exhibits, the Natural History Museum has given an opportunity for indigenous people to share their stories and have their voices heard and is setting the bar for how to do this in a respectful and engaging way.


IPOP and the Power of Interdisciplinary Exhibits

~Intern Cara

Gallery view of “Narwhal: Revealing an Arctic Legend”

As someone coming from a humanities background, natural history and science museums have typically felt inaccessible to me. The Smithsonian’s National Museum of Natural History ‘s exhibit, Narwhal: Revealing an Arctic Legend, changed that for me. I feel like this exhibit has flipped the script on what a natural history exhibit can be and achieve. This exhibit could have very easily just focused on the anatomy and behavior of narwhals but instead took a more engaging interdisciplinary approach. The exhibit touches on all aspects of Narwhals from their relation to their environment, climate change, the role of narwhals in native cultures, narwhals in pop culture to the history and mythology of narwhals and other horned creatures.

This text panel takes a look at the origins of one-horned creatures around the world, effectively engaging visitors who may be more interested in art and literature than science.

I think this interdisciplinary approach is particularly powerful way of engaging visitors. In my museum studies courses we’ve discussed the Smithsonian’s IPOP model of visitor engagement. The model “identifies four key dimensions of experience – Ideas (conceptual, abstract thinking), People (emotional connections), Objects (visual language and aesthetics), and Physical experiences (somatic sensations). The model maintains that individuals are drawn to these four dimensions to different degrees.” Just as visitors are drawn to certain dimensions of experience (personally I find myself more drawn to objects and physical experiences), people are drawn towards certain disciplines based on their interests. Interdisciplinary exhibits like the Smithsonian’s narwhal exhibit successfully keep visitors engaged by combatting the monotony of single discipline exhibits and allowing visitors to follow their interests.

Do we see all the artifacts a museum has?

~Intern Alexia

 Many museums have a permanent exhibit, meaning that every time you go visit it you are going to see the same artifacts or paintings. Sometimes these exhibits are slightly modified by changing a small quantity of the items. But, those that exhibit composes the entire collection the museum has? The answer to this question is often no. Big collections for many museums are a problem because of storage, conservation, and deciding what to showcase to the public. Museums acquire artifacts for their collections from donations, loans, and by buying them. Because of the large collection the museum may have, many of these artifacts the viewer never gets to see them.

The topic of large collections and everything they entitle came to my mind while visiting the exhibit of Objects of Wonder in The National Museum of Natural History. This exhibit, which is located on the second floor of the museum encompasses a wide range of artifacts from different subjects such as migration, paleontology, and geology. Some artifacts from the exhibit include mammoth meat, butterflies, ceramics, fossils, and a Japanese samurai armor.  But Objects of Wonders does more than just showcasing part of the large collection the Smithsonian has, it gives the audience a perspective they often do not get a chance to see.

Japanese samurai armor gifted to President Roosevelt by Emperor of Japan. Photo by Marisa Shultz

When most people go to an exhibit they do not think how the artifacts that are shown got to the museum, why the curator chose them, or how do researchers or scientists use and study those artifacts. Objects of Wonder breaks that barrier between the museum and the visitor. Through the exhibit the visitor can read comments from the curator regarding how specific items joined museum’s collection. The visitor can also see how researchers use the different collections for their investigations.

Calcite on quartz (amethyst)

The idea of creating an exhibit that encompasses a large range of topics to give the audience an overall idea of the collection a museum has is brilliant. By also having the curators notes throughout the exhibit the visitor has an inside of how they make an exhibit and their train of thought. The Natural History Museum was successful in creating an exhibit that flows well and tells the story of artifacts that do not necessarily have things in common.

Light and Sound: Immersion at the Smithsonian

~Intern Ash

When an interactive activity lights up, it draws us in. When we walk into a room with a different soundscape, the mood of the room changes. When light is shone on a specific area, it grabs our attention and sharpens our focus.

Light and sound are important aspects to consider when designing an immersive environment for visitors. After visiting the Smithsonian National Museum of Natural History on an intern field trip a couple of weeks ago, I was captivated with the sound and light design in its exhibits. So, I wanted to talk about a few of the ways they used light and sound to immerse their visitors in their exhibits and environments.

First, we headed to the Narwhal: Revealing An Arctic Legend exhibit. When we walked into this exhibit, seemingly abstract sounds filled the room. The best way to describe the soundscape was that it was like an interpretation of a mystical winter—slow creaking and shimmering notes, some haunting and deep, and others high-pitched and chattering. I was immediately enthralled with the sounds and was curious as to what they were. A panel in the exhibit described that they were “above-water sounds of Arctic birds and wind, and below-water sounds of narwhals vocalizing and ice moving and creaking.” The magical nature of these sounds fit well with the “mythical” legends that surround the Narwhal.

At the front of the Narwhal exhibit at the Smithsonian National Museum of Natural History

Along with the sound design, the lighting was sparse and kept to an ice and deep-water theme. Most of the lighting was a light, frosty blue, especially near the entrance. Around a hanging replica of a narwhal in the middle of the exhibit, there was shimmering blue light projected on the floor, mimicking how light shines through water. The walls and ceiling were painted black, absorbing the extra light and making the whole environment feel deep and mysterious, as if we were underwater. Overall, the sound and lighting design created the feeling of winter and the underwater deep as we walked throughout this exhibit.

Other than the Narwhal exhibit, there were a few other moments that I enjoyed throughout the museum because of their use of light and sound. In the David H. Koch Hall of Human Origins, there was a “cave” environment that had recreations of early human cave paintings. The lighting was dim and warm in this area, making the cave feel as if it was naturally and sparsely lit up. Low and haunting tones filled the space, and with the reading of a panel, I found out that the sounds were from playing a whistle artifact that was on display. This area and its haunting “music” created a sense of going back in time. It made me feel connected to early humans (my ancestors, of sorts) and their symbols.

Interactive about counterillumination in the Sant Ocean Hall at the Smithsonian. Panel states, “Look in and pretend you are a big fish looking up for a little fish to eat. Press the button and hold to see how the little fish uses its lights to hide.”

There were a lot of other areas of the museum where I enjoyed the lighting and sounds—a section on iridescent blues in the Objects of Wonder exhibit, an interactive about how fish use counterillumination to hide… But, seeing as how the museum has so many nooks and crannies, I don’t have the time to talk about them all. Overall, though, I can say that the parts of the museum that stuck with me the most were where these lights and sounds were used just right to transport me into a different world or time. In this way, the Smithsonian uses light and sound to its fullest. It combines them in the most captivating ways, forming enchanting environments and immersive spaces for visitors to explore.


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Weekly Response: Podcast Sneak Peek!

Posted on July 26th, 2018 by

Every week we’re asking our summer interns to share some thoughts and responses to various experiences and readings. This week we asked them to share about their upcoming podcast episodes. To read more posts from JMM interns, past and present, click here.

Feminism in Judaism: A Broad Podcast Topic

-Intern Ash

Inescapable: The Life and Legacy of Harry Houdini is one of those exhibits that really brings people into a Jewish Museum that might not otherwise think to visit a specifically “Jewish” museum. It provides a popular topic with modern appeal (magic!), and creates an opportunity to connect people with a Jewish narrative in unexpected ways.

Originally, for our podcast (which I’m working on with interns Alexia Orengo Green and Cara Bennet), we were inspired by the Houdini exhibit here at the JMM. We wanted to explore how Jewish narratives can appeal to a wider audience, much like in the Houdini exhibit, and what connections can be made to draw people in that are outside of the Jewish community. However, “Jewish narratives” is a broad, broad topic. We talked for a while and found ourselves on the topic of feminism, an issue we thought was current and had a wide appeal, both inside and outside of the Jewish community. When we started to excitedly chat about all the different things we thought were interesting about feminism within the Jewish community, we realized that we had pinpointed our topic for our podcast.

Screenshot from a YouTube video about feminism in Judaism, “The Click Moment.” Photo via the Forward

I think the hardest thing so far for our podcast has been editing down and refining our ideas. Because our group consists of three people, we each have different topics that we have a lot to say about within the feminist movement in Judaism. I’m most interested, for example, in the Haggadah supplements that are used during Passover.

Cover of “Like an Orange on a Seder Plate: Our Feminist Haggadah.” Picture via Barnes and Noble

The Haggadah is the traditional text read during the beginning of Passover, a holiday that celebrates the Jewish escape from slavery in Egypt. There are modern supplemental texts that can be read alongside, or in place of, the Haggadah. These supplemental texts many times include social justice topics and focus on freedom and justice within different communities in our society, so there are many feminist Haggadah supplements that have been written and are available online. Since Passover is a holiday about freedom from slavery, there are a lot of opportunities to talk about feminism and other movements within marginalized groups. However, there are a lot of other topics that are also important to feminism in the Jewish community, so refining and editing everything we want to cover in our podcast will be our biggest challenge moving forward.

Creating a Podcast

~Intern Alexia

As someone who has now recently began listening to podcasts, I was thrilled when I learned that I had to create one as part of my internship in the Jewish Museum of Maryland. Being completely honest, I was a little nervous because of the many topics to choose from. One day in the office while talking with my fellow interns about the podcast we decided to team up for this adventure. Being the collections interns, Ash Turner, Cara Bennet, and I decided that we wanted to incorporate the element of exhibits into our joined podcast. And as soon as we decided that we were going to do the podcast together the next question was: what are we going to talk about?

Regarding the topic of our podcast, we knew we wanted two things: the topic had to relate to the Jewish community and that it should be something that could have the possibility of being turned into an exhibit in the future. After brainstorming and coming up with more historical based ideas, the topic of feminism in the Jewish community came up, and we all knew we had found what our podcast was going to be about. This topic does not only engage with the Jewish community, but it also contributes to an extremely important conversation.

Cover of Jewish Radical Feminism by Joyce Antler. Image via Jewish Women’s Archives.

Once we had our topic, everything began to fall into place little by little. The first thing we had to decide was what kind of podcast we wanted to create. We decided to go for a more informal and conversational style of podcast because that way we could reach a greater audience. By also being a conversational podcast, the audience would not feel they are listening to a lecture, but rather an easy conversation to follow.

Because of the many things we can talk about on a feminist Jewish podcast we had to be thorough when it came to select what we were going to say. We decided that on the episode we are going to start by defining what feminism is, why we chose the topic, and what it means for us. This is important because it gives the audience a small introduction of the overall topic. Then we decided we are going to touch base with how feminism looks in contemporary Jewish practices and finally, which woman would each of would like to highlight in an exhibit of feminism in the Jewish community.

Book cover of I Dissent by Debbie Levy and Elizabeth Baddeley.

We believe this podcast will contribute to the greater conversation about feminism that we are having in today’s world. Even though we are only creating one episode of the podcast we all know this topic has the possibility of being more.

Peering Into History

-Intern Marisa

I am very pleased to announce the first (and likely only) installment of Peering Into History, a podcast about parts of history oft forgotten, hosted by me, Marisa Shultz. In this episode, I am going to describe the spectrum of contemporaneous Jewish perspectives on slavery in Antebellum America. Specifically, I am going to examine the ideologies of Rabbi Bernard Illoway and Rabbi David Einhorn, both of whom served in Baltimore just prior to the Civil War.

This is an image of Rabbi Bernard Illoway, who served at Baltimore Hebrew Congregation from 1859-1861. Illoway was a supporter of slavery and justified the South’s choice to secede from the Union. CP 11.2013.1

Researching the podcast was an interesting experience; I have done some work on this general subject before, but I did run into some challenges. Namely, Rabbi Einhorn published mostly in German, a language that I cannot read, but I was lucky enough to find a translated version of one of his sermons. Finding Rabbi Illoway’s writings was fairly easy, but combing through to find the few devoted just to the subject of slavery was more of a challenge. Through this process though, I found new electronic newspaper resources, namely with the National Library of Israel.

Writing the podcast was also a unique experience. I had to gauge the audience and take a guess as to what their knowledge might be in regard to the subject. I had to make sure I kept the action moving so as to engage my listeners, and I had to consider the lack of a visual elements, like tables or charts.

This is an image of Rabbi David Einhorn, who served at Har Sinai from 1855-1861. Einhorn was an ardent Abolitionist and wanted to see the slaves freed. JMM 1985.184.1

I think I have found a nice balance though, and I am really quite excited to share this episode with you. I’ve done a good deal of work in the Civil War field and I’ve found that we often talk about the opinions of protestant leaders and government officials, but the perspectives of the Jewish community are often either completely ignored or presented as uniform in thought. I really hope you take the time to listen to the episode when it comes out, and I hope you learn a little something new!

Podcasting your Passion

~Intern Cara

I was nervous when us interns were first assigned the task of recording a ten to fifteen-minute-long podcast. Ten to fifteen minutes seems like an eternity to someone like me who has a less than positive relationship with public speaking. But after choosing our topic (the relationship between Judaism and Feminism) I realized ten to fifteen minutes isn’t nearly enough time to cover a topic we all felt so passionately about. I first began thinking about this topic during my internship at the National Women’s History Museum this past spring. As I was writing an article highlighting important Jewish American women in history, I realized how many Jewish women were involved in the women’s rights movement. When I first learned about prominent second wave feminist leaders like Betty Friedan and Gloria Steinem in my high school history class, I never made the connection that they were Jewish or thought about the role that Judaism played in their decisions to speak out against gender inequality.

Betty Friedan’s “The Feminine Mystique” is often credited with starting the second wave feminist movement and consciousness raising of the 1960s. Image via.

While researching this topic, the Jewish Women’s Archive was an invaluable resource. While one of the major criticisms of Second Wave Feminism is its focus on white cisgender women, the Jewish Women’s Archive does a great job of highlighting women of color and LGTBQ women like Ilana Kaufman, an LGBTQ and civil rights activist, and Alicia Garza, one of the founders of the Black Lives Matter movement.

The Jewish Women’s Archive sells products featuring prominent Jewish Feminists including Emma Goldman, Gloria Steinem, and Ruth Bader Ginsburg. Image via.


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Intern Weekly Response: Social Media

Posted on July 19th, 2018 by

Every week we’re asking our summer interns to share some thoughts and responses to various experiences and readings. This week we asked them explore the world of social media. To read more posts from JMM interns, past and present, click here.


~Intern Cara

While I was a little late to the Instagram game (I joined in 2014) it has quickly become my favorite social media platform. I’m a very visual person and I love scrolling through my newsfeed (which to be honest mostly consists of food blogs) of carefully staged, edited, and filtered photos. My favorite posts are a combo of artistic photos, clever captions, and the perfect selection of emojis and hashtags. I think JMM’s social media manager, Rachel Kassman has done an awesome job with our Instagram account. Her voice and sense of humor shines through without overpowering the voice of the museum. My favorite series of posts are #MugShotMonday. I love the hashtag and think it’s a really clever way to show off the many coffee mugs JMM has for sale in its gift shop. I also love the variety of posts. The account features everything from objects and documents in our collections to the various projects staff and interns are working on.

One of many fun #MugShotMonday posts.

Currently the JMM’s Instagram account has a relatively small following (last I checked we were at 564 followers). I think a great way for the JMM to increase in engagement and its fanbase would be to follow other like-minded institutions on Instagram and its other social media platforms.  The National Museum of Jewish American History in Philadelphia (@americanjewishmuseum) and The Contemporary Jewish Museum in San Francisco (@jewseum) are both great accounts for the JMM to follow.

The Contemporary Jewish Museum’s Instagram feed.

#TweetMe @jewishmuseummd

~Intern Alexia

Interaction with the public is extremely important for museums. Now days museums can engage with their visitors through social media. Social media allows museums to have a personality and intermingle with its audience in a more relaxed way. This also allows museums to know its main audience and expand it. But social media accounts do not only help museums make connections with their visitors, it also allows museums to form relationships with other institutions. Through social media museums can also participate in conversations of current events. One of the ways the Jewish Museum of Maryland interacts with their audience is through their twitter account (@jewishmuseummd).

Jewish Museum of Maryland twitter page.

One the things I like the most of the JMM’s twitter account is how it keeps the audience updated on the exhibits and current events. The museum does this by keeping it’s posts short and adding a picture that catches the viewers’ eye. An example of this would be the museum’s promotion of Inescapable: The Life and Legacy of Harry Houdini To promote the exhibit the museum interacted with its audience by asking questions and showing snippets of the exhibit.

#TravelTuesday Tweet.

My favorite way in which the JMM’s twitter account interacts with its audience is when it shares parts of the Museum’s collection. One of the way the JMM shares its collection is with #TravelTuesday. Every Tuesday the JMM shares an artifact of their connection that is related to traveling. The tweets often have a small background of the artifact and a picture, which allows the viewer to learn a new fun fact or interesting topic. #TravelTuesday also allows the Museum to make connections with their current exhibitions: Inescapable and Voices of Lombard Street: A Century of Change in East Baltimore.

Jewish Museum of Maryland tweet about Inescapable.

Don’t forget to follow the JMM’s twitter account (@jewishmuseummd) and let us know what your favorite part of our exhibits is!

If you enjoy the JMM’s twitter account be sure to check out the Wellcome Collection’s twitter account @ExploreWellcome and the Victoria & Albert’s twitter account @V_and_A. Both accounts constantly interact with their audiences through their collections on twitter by making them relatable to them. The accounts also engage with their audience and other museums in a relaxed way.

The Jewish Museum of Maryland’s Use of Tumblr

~Intern Marisa

After spending some time investigating our beautifully laid out and designed Tumblr account, I came to the realization that a large amount of our posts on Tumblr are links to our blog, or the same posts on our Facebook page. I think some would say that this reuse of content is a bad thing, but I based upon my knowledge of Tumblr, I believe that it taps into a completely different audience than our Facebook. While our Facebook connects with anyone who has liked our page (or in some cases a similar page), on Tumblr the tagging system makes it so anyone searching a shared tag may stumble accidentally upon our posts. Additionally, Facebook and Tumblr attract different audiences, and thus, the duplicate posts do serve the museum well.

Image: JMM Tumblr

My favorite post on our Tumblr, currently, is actually something that doesn’t fall into those two categories. Namely, this was a link to a reading list of books about Jewish women in the LGBTQIA+ community. One of my biggest passions is reading, recommending, and championing diverse literature: the books that are forgotten, ignored, and not often taught in academic institutions. I was thrilled to see the museum taking similar steps on our Tumblr and raising awareness of these books.

Overall, I would say that our Tumblr, right now, is a second platform for the posts we write for Facebook, and since Tumblr often attracts a different audience, I think this is a good use of our account. However, Tumblr is also an exciting space in which we can recommend reading, whether books or articles, share different items from our collection, and make connections/collaborations with other local (or even distant) museums.

Marisa’s recommended Museum Tumblrs:

The New York Public Library: 

Image: NYPL

Libraries are just museums that are filled with books, right? I’m just kidding, but seriously,  in addition to being a filming location of the original Ghostbusters and a hub for intellectual curiosity, the NYPL does have rotating exhibitions (most notably right now an exhibit on Shared Sacred Sites). The NYPL Tumblr does a great job of balancing reading lists, library events, and items from their collection.

The Philadelphia Museum of Art:

Image: Philly Museum of Art

The Philadelphia Museum of Art is sharing their exquisite, extensive, and myriad collection on their Tumblr. What I particularly like about their Tumblr are their posts that collect several works of art that are connected by a particular theme. Like this post about waterfalls for instance. Where they can, they also offer multiple, detailed photos that draw the reader’s attention, like this post about a shield painted in 1535. Their Tumblr also provides reminders about upcoming events and serves as an additional outlet to reach new and continuing visitors.

Instagram and Nuggets of History

~Intern Ash

The Jewish Museum of Maryland’s Instagram page is filled with little nuggets of Baltimore and Maryland history. From old black and white photographs to pictures of us current interns, the JMM focuses its Instagram page mostly on happenings around the museum and historic photographs from its collections.

Out of the more recent posts on the JMM’s Instagram page, the ones that I feel are doing the best put a spotlight on some part of Maryland or Baltimore history, and teach me something I didn’t know before. The Hendlers Ice Cream posts, especially this one, taught me a bit about the history and advertising of ice cream in the early to mid-1900s in Baltimore. I didn’t think I would find a description of a “Kewpie,” a cherubic illustrated character, on the JMM’s page, and so this nugget of information surprised me. The small Kewpie illustrations that dot the Hendlers Ice Cream posts are fun and give a joyful energy to the JMM Instagram page.

Image of said “Kewpie,” illustrated and signed by Rose O’Neill, via the JMM Collections (1990.180.003). Gift of Maxine Cohen.

Seeing how much I like the Kewpies, I would like to see more little tidbits of Maryland and Jewish history in the JMM’s Instagram captions. Because the JMM’s Instagram page has a focus on historic photographs and documents (as opposed to other museums that may be illustration or art-heavy), I feel like the descriptions become very important to the viewer’s connection and accessibility to the artifact and its history.

For example, this photo really caught my eye, but the information given about it was that it was of “Shari Cohen and Lisa Vopell at the 1979 Jewish Festival! JMM 1992.108.59.” To outsiders hoping to connect or learn more, I think the names, festival, and number might not be recognizable without further information.

Museums can also take distinct approaches on how to use Instagram as a platform. Two museums that I feel are worth looking at for their Instagram, and take different but fun approaches, are The Contemporary Jewish Museum (@jewseum) and The Wellcome Collection (@wellcomecollection). The Contemporary Jewish Museum posts only once every few days, and makes the most of it, using Instagram mainly as a platform for advertising their events and exhibits through high-quality photos. The Wellcome Collection, on the other hand, uses its page as almost a digital look through their collection, while creating a whacky sort of personality through their descriptions and content. They also do a good job of providing ample information (or just enough, depending on the post) while still dividing it up in a digestible way for viewers. As shown with these different accounts, Instagram can become an additional medium to connect with an audience, whether it’s used to advertise, educate, or start a conversation within a museum community.

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