Museums have always had a strong territorial identity: the name of a museum may often be used to identify the city in which it is located, as well as the objects kept there. Museums, on the other hand, have been attempting to "export" themselves for some time, either physically or online. This tendency, which is being exacerbated by the Covid epidemic, generates a slew of new problems, which will be addressed in this article. This evolution is occurring in the context of the emergence of new museum forms that are unrelated to the conservation, study, and mediation of collections. The production of facsimiles is encouraged by the conservation of vulnerable locations; museums without artifacts encourage sensitive encounters; more playful versions resemble amusement parks; and ultimately, the potential provided by virtualisation of collections and settings enable distant visits. As a result, new technologies are frequently at the centre of these suggestions, and they appear to alleviate a variety of problems. However, one must be cautious and nuanced, and each answer must be tailored to each scenario. To attempt to tackle this broad subject, we will examine content virtualisation approaches by tracing the concepts' history, then examining the disparities in stakes across sites and objects, and finally questioning the cultural determinisms that the new technologies bear. To sum up, we will offer a dual idea, heritage and emergence, which allows us to explore the real world in relation to its digital clone.