In this talk, Cathy Sigmond explores how formative evaluation supports the process of creating audience-centered exhibitions. Cathy covers the ins and outs of formative evaluation for exhibition development, from core principles to strategies for doing formative evaluation in all types of museums. 

Design is always on my mind. It’s no secret to my friends and colleagues that I love using my skills as an evaluator to support designers in creating meaningful experiences for people. I get excited when we work with experience designers to see how visitors make sense of concepts through exploratory front-end evaluation, lead visitors in prototyping sessions to refine exhibits and messages as part of formative evaluations, and measure the impact of visitors’ experiences in multi-method summative evaluations.

After many years of appreciating from afar, I finally visited the Isabella Stewart Gardner Museum in Boston, MA, last month. Named after its founder, the Gardner Museum is a marvel of different artistic movements displayed through its collection and architecture.

Over the years, I’ve had the pleasure of working with many design firms and museums to prototype early versions of new exhibits with visitors. Prototyping helps us understand what works well about an exhibit and what doesn’t, and the results guide us in refining exhibits so they are more engaging and effective. Some of my favorite examples include testing out a tactile map of a large National Recreation Area; a hands-on airplane seat-building challenge; interactives about climate change; a Sims-style urban-planning experience; and, most recently, a 10-foot tall Plinko-like game about natural resources.

Matters of Experience is a podcast about the creativity, innovation, and psychology driving designed experiences and encounters. In this episode, Cathy Sigmond chats with hosts Brenda Cowan and Abby Honor about how we use data and insights from human-centered research to help museums connect with their audiences and shape great visitor experiences.

Digital museum content, such as digital exhibitions, online collections, and interactive experiences, is an excellent way to engage visitors and allow them to explore topics in more detail and on their own time. For instance, the National Gallery of Art recently shared that its website traffic has doubled since launching its daily puzzle game Artle in May 2022. By providing a unique, interactive experience, the National Gallery of Art has successfully encouraged more visitors to explore the many collections and programs the museum has to offer.

When visiting the Met earlier this year, I was especially interested in the Islamic art exhibitions. As I wandered through, trailing from South Asia to Ottoman Anatolia to Damascus, I was on the one hand in awe of how the Met had such a wide variety of items from these places, but on the other hand, distraught and angered by the objects on display.

Observations have always been one of my favorite ways to collect data. Watching how people move about and behave in a space is inherently addictive—there is so much you can discover if you pay close attention to what is happening around you, and it feels a bit like going undercover as a spy.

Too often, I see that exhibitions are developed in a way that assumes visitors will experience them like a book. However, results from hundreds of summative exhibition evaluations tells me that visiting an exhibition is more analogous to taking a hike than reading a book. Here are four ways museum visitors experience exhibitions like hikes rather than like books.

Gen Z is values-driven and cultural institutions will have to put their values at the forefront in order to connect with and engage directly with this generation.

As cultural institutions pivot towards serving this generation of visitors, it seems like a particularly salient time to query how this change in demographics might affect strategy, planning, and outreach for visitor engagement.

Summer is here, and with it, a new guest blogger series! Today we are excited to share a new post by our friend Sadiya Akasha of Sitara Systems. Sadiya is a researcher, product designer, and expert on Gen Z (people born between 1995 and 2010). In this summer series, Sadiyawill make the case for how and why engaging Gen Z is critical and share research-based insights that cultural institutions should noteif they want to survive and thrive.

Having drafted new labels, we want to ensure our approach is actually meaningful to our audiences at the Nelson-Atkins before putting them on the walls. We’re currently in the process of evaluating our new labels to better understand their impact on visitors.

In our workshops with curatorial colleagues (which we wrote about in the last post), we continually heard certain ideas rise to the surface about shared principles for interpretive text at the Nelson-Atkins.

In my last post, I wrote about harm reduction as a philosophy and how it might be applied to rethinking museum labels. In this post, I’ll explain just how we started these conversations at the Nelson-Atkins and put our ideas in action.

We're delighted to share the first post in a new four-part series by Rachel Nicholson from the Nelson-Atkins Museum of Art (located in Kansas City, MO). This first post breaks down what is harm reduction and what motivated the Nelson Atkins' team to do this critical work.

In this article, Cathy Sigmond describes the principles that underlie formative evaluation, showcases the range of ways museum practitioners can integrate formative evaluation into the exhibition development process, and considers how we might evolve and strengthen our traditional approaches to formative evaluation.

Cathy Sigmond breaks down Amber Case’s eight principles of calm technology and explores how museum professionals can apply them to designing museum experiences – both analog and digital – that best serve visitors.

This article highlights key findings of our research, focusing on emerging approaches to digital experiences for children in museums, as well as visitor and stakeholder perceptions of and concerns about digital experiences.

This article describes critical appraisal, a method applied by us to help a museum’s education department make data-driven decisions about programming.