美国作业抄袭：当代博物馆的展览
正如作者向西方世界的文化机构指出的那样，我已经确定了一种无缝过渡，即从排斥走向包容，从排外走向亲外。在当代的博物馆中发现了异种癖的普遍存在，因为它在各种展览中表现出来，并利用了标题内的其他作品，这些作品表明平衡修复的尝试是通过补偿可见性策略来实现的。具包容性增长被视为违反自然的自我革命实践中各种机构基于的概念未修改的自然博物馆的能力是non-troubling自然之外的其他人没有失去自我。
美国作业抄袭：当代博物馆的展览
这种观念的基础是对浪漫主义本质的信仰，即其他历史可以简单地包含在主要的现代主义叙事中，伴随着过去30年的几次崩溃和危机。这种假设和信念没有考虑边缘文化和霸权文化之间的冲突。在我看来，这个加法性质模型中令人不安的元素是，丰富性概念被留在了博物馆的核心。因此，改变的可能性由博物馆承担，而不考虑与导航相关的原则的改变、丢失或重新映射，使我们能够就修改、包含、充分性和质量做出决定。
美国作业抄袭：当代博物馆的展览
A seamless transition has been identified by me as the author points out to the cultural institutions of the western world to be moving from the exclusion to include and from xenophobia to xenophilia. The prevalence of xenophilia is found with the museums in the more current times since it expressed in various exhibitions with the utilization of other work within the titles that suggests that the attempts of balance redressal is made by the compensatory visibility strategy.
The majorly growing inclusiveness is viewed as contrary to the self-perception of revolutionary nature as it is practiced by various institutions grounded in a notion of unrevised nature of the ability of museum that is of non-troubling nature to make addition of the others without the loss of the self .
美国作业抄袭：当代博物馆的展览
The basis of this notion is on the belief of romantic nature that the other histories can be simple included within the major modernism narratives along with the several collapses and crises in the past three decades. This assumption and belief does not consider the conflict among the cultures that are marginally located and hegemonic. The disturbing element of this model of additive nature as viewed by me is the plenitude concept is left at the core of the museum . Hence, the change possibilities are assumed by the museums without the consideration to alterations, loss or the remapping of principles associated with navigation enabling us to make the determinations regarding the revision, inclusions, adequateness and quality.
