Assuming that the sharing of the sensible between spectator and art object meets an emancipatory challenge wherein the aesthetic experience has become the key word and the museum a favourite place, we want to examine how visual, digital cultures and the industrialisation of art exhibitions have radically altered its conditions of existence. However, rather than regarding it as a sign of death of the aesthetic experience in the contemporary museum apparatus, we think, rather, it signifies a rebirth of museography and curation, raising in new terms a question of aesthetic relationship, not only with the art object but also with the exhibition itself, that which is composed of several art objects that allow an experience in a certain ambiance.