Researching the space where the exhibition could take place. There are many options for an exhibition, maps leading around the main museum leading to each painting, a private room held for the exhibition, an online exhibition with the paintings uploaded, a VR experience aimed at Gen Z. I need to think about where i want the exhibition but also, i need to think about the size of the room, how many walls, what its next to, do you need to take stairs to get there, are there big windows.
As part of developing my National Gallery project, I’ve been exploring which room within the gallery could best host my proposed exhibition. Unlike public venue hire, this concept is designed as a pitch for the Gallery itself to present — using its own collection and curatorial resources rather than an externally organised event.
Finding the right room is an important part of shaping the project’s tone and message. The space needs to feel open and welcoming while still connecting to the history and collection of the Gallery. Rather than searching for hireable venues, I began researching the Gallery’s existing rooms, their atmosphere, and the types of works they typically display.
I’m particularly interested in spaces that could encourage reflection and conversation, echoing the influence of the Guerrilla Girls. Their approach to revealing hidden inequalities in the art world has inspired me to think about how certain rooms might reveal, or conceal, stories within the National Gallery’s collection. An exhibition situated in one of the larger rooms, such as Room 32 (The Julia and Hans Rausing Room) or the Barry Rooms, could allow for an engaging flow of visitors and space for interpretive design elements.
My goal is to select a room where the audience can not only view the artworks but also question the narratives that surround them. For example, I could imagine an intervention in a gallery that primarily features male artists, reframing the space with new signage, statistics, or interpretive panels asking questions like “Who gets to be remembered?” or “Whose stories are missing from these walls?”
By choosing a specific room within the National Gallery, I can ground my proposal in a real environment, allowing the project to feel both achievable and contextually relevant. It also creates an opportunity to think about how existing artworks, layout, and interpretation might be adapted to support themes of inclusivity, visibility, and reflection.
For my National Gallery project, I’ve chosen Room 32 – The Julia and Hans Rausing Room as the imagined location for my exhibition. The space is home to dramatic Baroque paintings by artists such as Caravaggio, Guido Reni, and Rubens, almost entirely male voices from art history. The room’s grandeur, symmetry, and traditional layout make it an ideal setting for a reflective intervention that questions representation and visibility within the Gallery.
The exhibition will take place in the evening, transforming the usual atmosphere of the room. Instead of bright daylight or gallery spotlights, I want to introduce a softer, more intimate tone, glowing fake candles and a warm orange light that fills the space with quiet energy. This lighting will create a sense of stillness and reflection, encouraging visitors to pause and reexamine the works around them. The glow will subtly reveal new interpretive elements, printed text, signage, or projections, that invite visitors to consider questions like “Who gets to be remembered?”
Unlike a hired venue, this isn’t a rented space. My proposal would be hosted by the National Gallery itself, meaning any changes to the environment go through their own curatorial and conservation teams. Through research into the gallery’s refurbishment projects, I found that they do make changes to their rooms, such as rehanging artworks, updating lighting, and even reinstating original wall finishes, but these are all carefully planned by conservation specialists.
In 2020, Room 32 underwent a full refurbishment. The gallery restored its historic decoration, installed new lighting systems, and rehung the collection. This shows that the space can evolve, but only under strict supervision. For a temporary exhibition like mine, painting the walls would likely be off-limits, but temporary display panels or removable coverings could be used instead.
Lighting is another consideration. Because of conservation rules, the gallery limits light intensity and heat around paintings. Real candles would definitely be prohibited, but I could introduce LED candle clusters and warm, amber-toned ambient lighting that softly glows without risk. The idea is to create a gentle evening atmosphere. a warm, reflective space that feels different from the usual daylight gallery experience.
Room 32 can hold up to 450 people standing, though for an exhibition it would be better to plan for fewer — around 150–300 visitors at a time for comfort and accessibility. The room itself is accessible via lifts, with nearby facilities and clear pathways. I’d like to ensure the experience is inclusive, reflecting the accessibility values at the heart of my broader project.
Set-up for something like this would probably take several days, with the gallery’s technical team handling lighting and layout. It’s not something you wheel in overnight; it’s a collaborative process with conservation staff, technicians, and curators.