Thanks to the new window solar flare technology, inhabitants can contribute their energy into curating a live exhibition on building's windows. The flare produces an algorithm based on people's conversations and uses it to choose from the museum collection and display it on the windows. New inorganic and organic technologies, as well as bionic, have brought about an even wider stretch of the boundaries into an active museum practice. Enabling the transversal mapping of the re-conceptualised museum along body, built environment, natural infrastructure, vital pulsations and aural energies.

The museum has become ubiquitous in the way it pervades the social quotidian. Now we can find exhibits in supermarket aisles, mixed in with the products we are looking to take home. The symbolic power of the work of art has definitely been destabilised, but not in the way old museums feared it to be. People have learned to take its power into the fabric of everyday life and to build their struggles by getting invested with it. In this case of the supermarket it serves as remembrance of the food revolution: once it became 100% sustainably sourced, consumed and equally distributed for free, displaying art pieces next to it became a symbol of Humanity’s shared right to be sustained, both physically and aesthetico-spiritually.‍

Museum walls are now outside in the city, where they are appropriated by neighbourhoods and brought back into the museum on a discussion and reflection about borders between the city and the museum.Receiving inside of itself, in real time, the neighbourhood's sensitivities, claims and preoccupations, the museum is invited to step out of the overwhelming aesthetico-conceptual stance and into the actio-reflective space of the Agora. Confronted with the real outside its walls, the whole boundary structure is restructured and the contemplative turned action.

Museums have replaced their walls for translucent, soft and fluid materials where the latest virtual technology mediates augmented reality exhibits. They are no longer fixed spaces for visiting or safeguarding. Instead, they focus on the visitor’s flux, movement and ever-changing interaction. These museums do not seek to be a safety deposit box, they enable a free dance between artworks and the visitors. The museum walls move with the wind like vaporous and light tulle. Visitors are no longer experiencing a concrete space, they interact with lightweight and see-through borders. Museums' walls do not contain, they become in an ever-shifting dance between ‘bodies’ that touch and see.

The museum Arnhem pill is a wholesome experience of embodiment where the user is immersed in an unexpected piece. The senses will be attuned to the sensory reality of the piece, transporting one into an entanglement of sounds, scents and colours capable of shifting perspectives and opening horizons of possibility. Perception becomes infiltrated to a point where, for the duration of the experience, the user revels in an altered existence, breaking the limits of intersection with art. The ultimate free art journey, where the museum is projected in hyperspace.

With this meal the eater is transported into the sensory realm of the work of art, engaging like never before in its universe. But this is more than a tasting experience, there is an objective embodiment, a trespassing of the boundaries between realms. These pre-made meals envision the interior museum, as the body becomes the exhibitor of the work of art, from the inside.