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meren isključivo na tibetansku i drugu himalajsku umetnost.Trenutno radimo na vodećem muzeju jednog umetnikau Filadelfiji, posvećenom predstavljanju radovaAleksandra Kaldera, najpoznatijeg po svojim pokretnimskulpturama koje vise sa tavanice.Muzeji ideja, u kojima je fokus na idejama a ne nazbirkama, pojavili su se u kasnom XX veku ali pokazujuznake da nastavljaju da se razvijaju i u novom milenijumu.Naša firma je uradila opširno planiranje zapredloženi Muzej afričke dijaspore u San Francisku, gdeće priča započeti sa širenjem homo sapiensa iz Afrike, iza planirani Nacionalni muzej ljudskih prava u Vinipegu,u Kanadi. Slično Muzeju tolerancije u Los Andjelesuili memorijalnom Muzeju mira u Kanu, u severnojFrancuskoj, predloženi Muzej ljudskih prava u Vinipegutrebalo bi da bude ustanova koja će predstaviti izložbe idruge programe grupisane oko središnje inspirativneideje, a ne oko stalne zbirke. Da li ovi novi tipovi muzejaimaju uticaja na muzeje umetnosti? Da li ćemo videtijoš uže specijalizovane ideacionalne muzeje kako budeodmicao XXI vek?Muzeji koji izražavaju ono što zovemo prvo lice narodačiju kulturu predstavljaju su takodje važna novakonstrukcija našeg vremena. Nacionalni muzej američkihIndijanaca je već stekao reputaciju po takvim izložbamau svom izvornom ogranku u Njujorku ali će mnogodoslednije ispuniti ovaj cilj u svojoj novoj centrali naMolu, u Vašingtonu, gde je tek otvorena glavna novazgrada koju je dizajnirao rodjeni kanadski arhitektaHarold Kardinal. U Parizu je, slično tome, Muzej na kejuBranli zamišljen kao muzej koji će predstaviti umetnosturodjeničkih naroda sa njihove tačke gledišta. Vašnovi muzej ovde bi trebalo da pozdravi predstavljanjetakvih izložbi ‘u prvom licu’ gde je tačka gledišta kustosamanje prisutna nego gledište naroda od kojih izložbapotiče.Još jedan razvoj ima svoje korene u XX veku, ali izgledada sakuplja snagu i delove u naše vreme, jepredstavljanje zbirki kao vidljivog dostupnog depoa,koje tako olakšava istraživanje svima od najozbiljnihnaučnika koji rade na tezama i knjigama pa do učenikasrednje škole koji pokušavaju da urade domaći zadatak.Prirodnjački muzej u Londonu je nedavno otvorio prvufazu svog Centra Darvin u kome će stotine hiljada primerakabiti dostupno zainteresovanim posetiocima daih pogledaju u društvu obrazovanih vodiča.Izvanredno poboljšani uslovi u depou za vaše nacionalnekolekcije estonske umetnosti u vašem novom muzejuneće biti dostupni publici ali bi svakako trebalo daolakšaju istraživanje predmeta i tako podstaknu publikovanjeviše monografija i uporednih studija o radu estonskihumetnika.VIRTUELNE IZLOŽBEPojava virtuelnih izložbi na internetu je promenanašeg iskustva sa urbanim muzejima ranog XXI vekakoja se mogla najlakše predvideti. Danas se sve više praveizložbe u muzejskoj zgradi koje mora da prati virtuelnipandan na mreži, i ne samo to, muzeji nalaze načineda prikažu informacije i slike na internetu kao virtuelneizložbe koje dodju do više stotina hiljada korisnikakoji možda nikada neće otići u pravi muzej.Možemo sada videti muzejske posetioce kao učesnikeu nizu relacija sa muzejem, počinjući sa njihovim otkrićemprograma institucije na mreži, praćenim posetomsamom muzeju ( koje može biti godinam kasnijeako je korisnik veoma daleko) i zatim se relacija održavaposle posete preko stalnog pristupa muzejskoj vebstranici i programima na internetu. Muzeji sada morajuda planiraju svoje programe imajući u vidu ovaj niz.Veb58show signs of continuing to develop in the new millennium.Our firm has done extensive planning for a projectedMuseum of the African Diaspora in San Francisco,where the spread of Homo sapiens from Africa willbegin the story, and for the projected National Museumfor Human Rights in Winnipeg, Canada. Like the Museumof Tolerance in Los Angeles or the Memorial, Museepour la Paix in Caen, France, the proposed Museum forHuman Rights in Winnipeg is to be an institution thatwill present exhibitions and other programs groupedaround a central inspiring idea, rather than any permanentcollections. Does this new museum type have relevancefor art museums? Will we be seeing still more specializedideational art museums as the 21st century progresses?Museums that express what we call the first voice ofthe peoples whose culture they present are also importantnew developments in our time. The National Museumof the American Indian had already established a reputationfor such exhibitions at its original branch inNew York, but is going to accomplish this goal much morethoroughly at its new headquarters on the Mall in Washington,where it has just opened a major new buildingdesigned by Canadian native architect Harold Cardinal.In Paris the Musee du Quai Branly has similarly beenconceived as a museum that will present the art of indigenouspeoples around the world from their point of view.Yournew Museum here should look forward to presentingsuch ‘first voice’ exhibitions, where the viewpointof the curator is less in evidence than that of thepeople from whom the exhibitions originate.Still another development that has its roots in the20th century but appears to be gathering strength andcomplexity in our time is the presentation of collectionsas visible storage, thereby facilitating research from themost serious scholars researching theses and books tothe secondary school student trying to study an assignment.The Natural History Museum in London hasrecently opened the first phase of its Darwin Center, inwhich hundreds of thousands of specimens will be visiblyaccessible to interested visitors, accompanied byknowledgeable guides.The vastly improved storage conditionsfor your national collection of Estonian art inyour new Museum will not be accessible by the generalpublic, but certainly they should facilitate research intothe subject, and therefore stimulate the publication ofmore monographs and comparative studies on the workof Estonian artists.Virtual ExhibitionsPerhaps the most predictable transformation of ourexperiences in urban museums of the early 21st centuryis the advent of virtual exhibitions on line. Increasinglytoday, actual exhibitions in the museum building mustbe accompanied by virtual counterparts on the web, butin addition museums are finding ways to present informationand images on line as virtual exhibitions that reachmany hundreds of thousands of users who may neverget to the actual museum.We may now see museum visitors as participants ina continuum of relationship with a museum, beginningwith their discovery of the institution’s programs on theweb, followed by a visit to the museum itself (which maybe many years later if the web user is far away), andthen sustained after the visit by continuing access to themuseum’s web site and internet programs. Museumsmust now plan their programming with this continuumin mind. The Guggenheim’s virtual exhibition web site,shown here, is just one example among hundreds thathave been developed in recent years.