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Museums are institutions dedicated to the collection and/or conservation of objects and experiences of cultural importance for educational or esthetic purposes. Museums vary in size and scope, and the term includes a wide variety of institutions, including, but not limited to, aquariums, arboretums, art museums, botanical gardens, children’s/youth museums, historic houses/sites, history museums, natural history/anthropology museums, nature centers, planetariums, science/technology centers, and zoos. In addition to this variety of content focus, museums may be operated under a variety of governance structures: nonprofit or charitable/nongovernmental organization; governmental units; for-profit; or a combination of any of these. Finally, although all museums concern themselves with some type of collection or conservation of ideas or objects, there may also be variation in the purpose of the collection(s) for either public educational purposes or private/research purposes. This entry focuses on the educational approaches and practices of museums whose primary purpose is the promotion and support of lifelong learning for the general public (as opposed to private collections and research collections). Lifelong learning is a central concept in museum education, as it acknowledges the position of museums as learning organizations that exist outside the formal education systems (schools, universities, and other training organizations) and thus have the potential to engage individuals in learning throughout their lifetimes, inspiring curiosity and creativity.

Learning in Museums

Modern museums, whose collections and research are made available to the general public, rose in popularity during the 18th century in Europe. These museums’ collections often consisted of the private collections of wealthy individuals or state collections, with the goal of preserving valuable artifacts or bringing unique artifacts to the public. Artifacts were conserved by expert curators, who then mounted exhibitions to communicate a particular narrative or theme to the visiting public. Key to this practice is that the expertise of the curator—either through discovery of new artifacts/ideas or unique analysis and selection of objects—was central to the learning experience. The curator, based on the objects available, held the power to construct the visitor’s experience, as spectacle, learning experience, or both. As museums more fully embraced identities as educational and cultural institutions, mostly in the 1960s and 1970s, the notion of museum education as a distinct area of pedagogy emerged, with universities establishing museum education as a specialized strand of study in existing museology programs.

Adults as Learners

For most of the 1900s, adults were considered the primary learner audience for museum education. As such, traditional museum education focused on delivering learning experiences through the organization of the physical environment such as signage, building architecture, and guidance (maps and docent-led tours). Evidence of adults’ learning through these methods was also relatively easy to assess through surveys, focus groups, interviews, and observations. Observational methods of measuring engagement with exhibits were developed based on adult behavior, often referred to as timing and tracking measures, in which visitor behavior is observed and documented, including total time spent in a particular exhibition, which components or artifacts are visited (and in what order), utterances during the visit, and even tracking of eye movement. These methods are all informed by theories and practice in adult educational theory and educational psychology.

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