Kate Guy is an AHRC-funded Collaborative Doctoral Award candidate at the University of Brighton and the British Museum, UK.Hajra Williams is a Design Star doctoral candidate at the University of Brighton, UK.Claire Wintle is a Principal Lecturer of Design History and Museum Studies at the University of Brighton, UK.

'As definitions of the museum continue to expand, this book makes valuable contributions to ongoing debates. Each generation has its own priorities, politics, and restrictions, but there is an arrogance that assumes that history is best ignored. Here, multiple authors demonstrate how wrong we can be.' Dinah Casson, CBE RDI, Co-founder of Casson Mann 'This book fills a huge and important museum history gap - its focus on the process of making exhibitions and its wide global and chronological coverage uncovers hidden histories in exhibition design, and points the way to the future.' Kate Hill, Associate Professor of History, University of Lincoln, UK'A must for anyone interested in exhibitions, design and museums, this book cuts new swathes through exhibition design history, and presents "behind the scenes" practices, processes and labour as worthy subjects in their own right.' Pat Kirkham, Professor of Design History, Kingston University, UK; Professor Emerita, Bard Graduate Center, USA

• Part 1: Exhibition Makers: 1. Exhibition Work: Exploring Labour in the Federal Community Art Center Project; 2. Putting Joseph Towles’ Name in the Credit Line: Institutional Racism at the American Museum of Natural History; 3. ‘Miss Hall and her Busy, Energetic Design Group’: The Emergence of Professional In-House Design at the British Museum; 4. An Immersive Journey – Crossroads of Continents: Cultures of Siberia & Alaska (1986–92); 5. A Latin American Model of Professional Training in Exhibition Design: Alliances, Outcomes and Challenges; Part 2: Beyond the Museum: 6. Fashioning the Beaton Portraits: 1928-1968 Exhibition; 7. Collaboration and Exhibition Making at Cartwright Hall: Strategies of Permanence; 8. The Re-Crafting of Design: Towards an Ethnographic Perspective in Chinese Exhibition Design; Part 3: The Material Culture of Display: 9. The Afterlives of Labels: Materiality and Labour in the Science and Technology Exhibition Label Archive of National Museums Scotland; 10. Ethnonational Identity and Mannequins in History Museums in Korea and Japan; 11. Exhibition Design and the Construction of Race, Gender and Class in the First Ladies Hall of the United States National Museum; 12. ‘Above All Matter of Facts’: Material Knowledge, Exhibition Culture and the Making of Economics; Part 4: Exhibition Afterlives: 13. ‘Gesamtwirkung’: Researching Wilhelm von Bode’s Design for the Exhibition of Old Master Paintings (1883) as a Model for Future Museum Practice; 14. Visual Interventions: Exhibition Graphic Design as Critical Practice; 15. The Living Area at the Sainsbury Centre: Looking Back to Look Forward; Index.

Kate Guy is an AHRC-funded Collaborative Doctoral Award candidate at the University of Brighton and the British Museum, UK.Hajra Williams is a Design Star doctoral candidate at the University of Brighton, UK.Claire Wintle is a Principal Lecturer of Design History and Museum Studies at the University of Brighton, UK.

'As definitions of the museum continue to expand, this book makes valuable contributions to ongoing debates. Each generation has its own priorities, politics, and restrictions, but there is an arrogance that assumes that history is best ignored. Here, multiple authors demonstrate how wrong we can be.' Dinah Casson, CBE RDI, Co-founder of Casson Mann 'This book fills a huge and important museum history gap - its focus on the process of making exhibitions and its wide global and chronological coverage uncovers hidden histories in exhibition design, and points the way to the future.' Kate Hill, Associate Professor of History, University of Lincoln, UK'A must for anyone interested in exhibitions, design and museums, this book cuts new swathes through exhibition design history, and presents "behind the scenes" practices, processes and labour as worthy subjects in their own right.' Pat Kirkham, Professor of Design History, Kingston University, UK; Professor Emerita, Bard Graduate Center, USA

• Part 1: Exhibition Makers: 1. Exhibition Work: Exploring Labour in the Federal Community Art Center Project; 2. Putting Joseph Towles’ Name in the Credit Line: Institutional Racism at the American Museum of Natural History; 3. ‘Miss Hall and her Busy, Energetic Design Group’: The Emergence of Professional In-House Design at the British Museum; 4. An Immersive Journey – Crossroads of Continents: Cultures of Siberia & Alaska (1986–92); 5. A Latin American Model of Professional Training in Exhibition Design: Alliances, Outcomes and Challenges; Part 2: Beyond the Museum: 6. Fashioning the Beaton Portraits: 1928-1968 Exhibition; 7. Collaboration and Exhibition Making at Cartwright Hall: Strategies of Permanence; 8. The Re-Crafting of Design: Towards an Ethnographic Perspective in Chinese Exhibition Design; Part 3: The Material Culture of Display: 9. The Afterlives of Labels: Materiality and Labour in the Science and Technology Exhibition Label Archive of National Museums Scotland; 10. Ethnonational Identity and Mannequins in History Museums in Korea and Japan; 11. Exhibition Design and the Construction of Race, Gender and Class in the First Ladies Hall of the United States National Museum; 12. ‘Above All Matter of Facts’: Material Knowledge, Exhibition Culture and the Making of Economics; Part 4: Exhibition Afterlives: 13. ‘Gesamtwirkung’: Researching Wilhelm von Bode’s Design for the Exhibition of Old Master Paintings (1883) as a Model for Future Museum Practice; 14. Visual Interventions: Exhibition Graphic Design as Critical Practice; 15. The Living Area at the Sainsbury Centre: Looking Back to Look Forward; Index.

Kate Guy is an AHRC-funded Collaborative Doctoral Award candidate at the University of Brighton and the British Museum, UK.Hajra Williams is a Design Star doctoral candidate at the University of Brighton, UK.Claire Wintle is a Principal Lecturer of Design History and Museum Studies at the University of Brighton, UK.

'As definitions of the museum continue to expand, this book makes valuable contributions to ongoing debates. Each generation has its own priorities, politics, and restrictions, but there is an arrogance that assumes that history is best ignored. Here, multiple authors demonstrate how wrong we can be.' Dinah Casson, CBE RDI, Co-founder of Casson Mann 'This book fills a huge and important museum history gap - its focus on the process of making exhibitions and its wide global and chronological coverage uncovers hidden histories in exhibition design, and points the way to the future.' Kate Hill, Associate Professor of History, University of Lincoln, UK'A must for anyone interested in exhibitions, design and museums, this book cuts new swathes through exhibition design history, and presents "behind the scenes" practices, processes and labour as worthy subjects in their own right.' Pat Kirkham, Professor of Design History, Kingston University, UK; Professor Emerita, Bard Graduate Center, USA

• Part 1: Exhibition Makers: 1. Exhibition Work: Exploring Labour in the Federal Community Art Center Project; 2. Putting Joseph Towles’ Name in the Credit Line: Institutional Racism at the American Museum of Natural History; 3. ‘Miss Hall and her Busy, Energetic Design Group’: The Emergence of Professional In-House Design at the British Museum; 4. An Immersive Journey – Crossroads of Continents: Cultures of Siberia & Alaska (1986–92); 5. A Latin American Model of Professional Training in Exhibition Design: Alliances, Outcomes and Challenges; Part 2: Beyond the Museum: 6. Fashioning the Beaton Portraits: 1928-1968 Exhibition; 7. Collaboration and Exhibition Making at Cartwright Hall: Strategies of Permanence; 8. The Re-Crafting of Design: Towards an Ethnographic Perspective in Chinese Exhibition Design; Part 3: The Material Culture of Display: 9. The Afterlives of Labels: Materiality and Labour in the Science and Technology Exhibition Label Archive of National Museums Scotland; 10. Ethnonational Identity and Mannequins in History Museums in Korea and Japan; 11. Exhibition Design and the Construction of Race, Gender and Class in the First Ladies Hall of the United States National Museum; 12. ‘Above All Matter of Facts’: Material Knowledge, Exhibition Culture and the Making of Economics; Part 4: Exhibition Afterlives: 13. ‘Gesamtwirkung’: Researching Wilhelm von Bode’s Design for the Exhibition of Old Master Paintings (1883) as a Model for Future Museum Practice; 14. Visual Interventions: Exhibition Graphic Design as Critical Practice; 15. The Living Area at the Sainsbury Centre: Looking Back to Look Forward; Index.