The Inclusuem is a collaborative project established in 2012 with international reach and global impact. The three co-directors, Aletheia Whitman, Dr. Rose Paquet, and Dr. Porchia Moore share a mission to “advance new ways of being a museum through dialogue, community building, and collaborative practice related to inclusive practice in museums.” We have provided a platform for over a decade which prompts arts and cultural heritage professionals to push the bounds of museum work to be as expansive and inclusive as possible while enacting structural change. In this piece, we focus on museums as sites where the humanities are made public. Our manifesto proposes a vision for the public humanities in a changing political landscape and will introduce new perspectives for both an emerging museum and an emergent new understanding for the public humanities within museums faced with an antagonistic intellectual and cultural ecosystem.

This article concerns the development of archaeology and museology, in the Ottoman Empire, Turkey, and Greece, through the life and career of Théodore Macridy. Macridy participated in knowledge transfer in more than one discipline and more than one country. Through his links with Western academic circles in archaeology and museology, he made a significant contribution to their development in the Ottoman Empire, Turkey, and Greece. Living between the Ottoman and Greek epistemic communities as an Ottoman citizen of Greek origin, he excavated numerous sites of the Ottoman Empire, worked at the Ottoman Imperial Museum, and contributed to the foundation of the Benaki Museum in Athens at the end of his career. This makes him a good example of an Ottoman Greek scholar whose liminal identity led to his relative neglect in both Greek and Turkish archaeology and museology.

The latter half of the nineteenth century witnessed the establishment of prehistoric archaeology as a scientific discipline in Italy, as well as the founding of the Italian nation state. Evolutionism, positivism, and a sense of national identity informed prehistoric research and the activities of individuals, such as Strobel, Pigorini, and Chierici, who are regarded today as the founding fathers of Italian prehistory. It is in this dynamic cultural and political climate that the civic museums of Reggio Emilia, Modena, and Bologna were created, both as a response to intense local archaeological activity and in reaction to the centralizing structure of the newly formed kingdom of Italy. These civic museums were among the first museums of prehistory in Italy and the products of the cultural and political climate of late nineteenth-century Europe. This article explores the circumstances surrounding the foundation of these museums and considers how the work of the first prehistorians and the museums' own histories, as civic and cultural institutions, continues to affect their role and management in the present.

Drawing on recent visual and spatial turns in history writing, this paper considers AIDS posters from the perspective of their museum ‘afterlife’ as collected material objects. Museum spaces serve changing political and epistemological projects, and the visual objects they house are not immune from them. A recent globally themed exhibition of AIDS posters at an arts and crafts museum in Hamburg is cited in illustration. The exhibition also serves to draw attention to institutional continuities in collecting agendas. Revealed, contrary to postmodernist expectations, is how today’s application of aesthetic display for the purpose of making ‘global connections’ does not radically break with the virtues and morals attached to the visual at the end of the nineteenth century. The historicisation of such objects needs to take into account this complicated mix of change and continuity in aesthetic concepts and political inscriptions. Otherwise, historians fall prey to seductive aesthetics without being aware of the politics of them. This article submits that aesthetics is politics.

One of the major archaeological museums, the Pergamon Museum in Berlin, serves as an example to discuss present problems of museology. I argue that the development of museums has to be analysed from a combination of perspectives, including an historical one, that of visitors and of museum staff. In a first section, the paper outlines the history of the Pergamon Museum, including an institutional history and the larger socio–political framework. To highlight the range of possibilities of understanding, I give two readings of the museum from the viewpoints of differently oriented visitors, one colonialist, the other postmodern. I then consider current debates among curators and distinguish between two main exhibition strategies, one pragmatist, the other purist. Finally, I discuss the larger framework in which museums exist, which shows their problematic status. Using critical theory's distinction between culture industry and affirmative (elite) culture, I show that the Pergamon and other museums survive today only through an uneasy compromise between these two extreme poles of culture.