The Art Newspaper | Nicholas Serota:

As Tate prepares to open the new, extended and rehung Tate Modern in June, this is an important moment for us to consider how museums have changed so far this century, and how they might continue to develop in the future. In the past 20 years, there has been a profound shift in the expectations and behaviour of audiences in museums. For me, this first became evident in the response to Olafur Eliasson’s Weather Project installation in the Turbine Hall at Tate Modern in 2003. People took over the space and used it as an arena for their own experience, so that the work gained an unanticipated performative aspect. Similar unprogrammed responses were prompted by Carsten Höller’s Test Site in 2006 and by Doris Salcedo’s Shibboleth in 2007, both also in the Turbine Hall… Read more 

Image: Tate Modern © Hayes Davidson and Herzog & de Meuron