Social media in the institutional framework is often seen as lowbrow, an antithesis to traditional museums and galleries; caught between maintaining these traditional ways and adapting to the ever changing and apace technological advancements. The institution now more than ever is pressured with a heavy decision to make, that will establish the relevance, of their existence and new social position.

Breaking out of their four walls by digitizing the gallery and museum space, is something that most think crumbles the integrity and sacred nature of the institution. Others have however embraced the ways of this new era of virtual life where everything can be accessed and experienced through technology. Curators, have long been considered to play a passive role, as preservers and displayers of art rather than as active participants in the construction of art, this break can help them take active part in directing the technological development of galleries.

Now more than ever , the institution is forced to rethink and break the old structures it was founded on because they will not hold. They offer the most anchored and widely understood definitions of “fine art practice”, which has been a long standing reference point for us.
A warrant for reproach is needed for the existing institutional space to liberate its meaning from conventional codes of display. The COVID-19 pandemic is forcing us to move beyond the framework of the institution into this new era of immersive virtual media, this new structure will open up unprecedented access to previously inaccessible material due to financial and/or physical restrictions. This change is allowing the artist, curator, dealer and collector to build their own conditions of independence and control the context of their practice to one which is no longer dependant on the institution. A shift in agency like we’ve never seen before.