Making Museums More ‘Touchable’

Key Takeaways

• Touchable art increased visitor dwell time.
• Tactile engagement sparked deeper questions about creation.
• Exhibition generated $1.7M research income.
• Supports NGA’s Know My Name gender initiative.
• Demonstrates play’s role in inclusive museum design.

Summary

Sanné Mestrom’s interactive installation "The Whole is Greater Than the Sum of Her Parts" ran at the National Gallery of Australia from May to September 2025, inviting visitors to touch, climb and build with art. The tactile elements consistently held audiences longer than visual‑only works and prompted questions about how pieces were made. Backed by a four‑year DECRA research project, the exhibition generated $1.7 million in research income and fed into the NGA’s Know My Name gender‑equity program. Online learning resources now extend the experience beyond the physical show.

Pulse Analysis

Museums have long treated artworks as untouchable objects, limiting learning to visual consumption. Recent research in cognitive science shows that multisensory interaction—especially touch—enhances spatial reasoning and memory retention. By integrating bronze reliefs, climbable sculptures, and play‑based stations, Mestrom’s exhibition turned passive viewing into embodied inquiry, prompting visitors to reconcile what they see with what they feel. This shift aligns with a growing trend toward interactive museum experiences that cater to diverse learning styles and encourage deeper emotional connections with art.

The project’s impact extends beyond pedagogy. Funded through the Australian Research Council’s DECRA scheme, the four‑year investigation into playful environments produced $1.7 million in research income, illustrating how arts‑focused inquiry can be commercialised and inform urban policy. The installation also dovetailed with the National Gallery’s Know My Name initiative, spotlighting female representation in the modernist canon. By translating iconic works from Picasso to Giacometti into tactile forms, the exhibition offered a fresh lens on gender narratives while delivering measurable visitor engagement metrics.

Looking forward, Mestrom’s model provides a blueprint for cultural institutions seeking to modernise. Interactive, touch‑enabled spaces can attract families, support inclusive education, and generate new revenue streams through research partnerships. As museums compete with digital entertainment, embracing embodied play not only enriches audience understanding but also positions institutions as innovators in experiential learning and social equity.