Others have filed them under institutional critique, even though in many ways they refer not to the modern museum, but back to its precursors the Wunderkammer and Kunstkammer of the pre-rational age. Some commentators have termed them artists' museums, but they are not exclusively assembled by artists.
The activities of the authors of these 'museums' can be seen as working somewhere between social and personal histories, between high and low culture, between private and collective memory, and between nostalgic and impulsive registers. This article explores the affective significance of three curatorial projects realized between the 1960s and the early 1980s, plucked from a still un-assembled history of exhibitions in which collections of ever-day objects form the starting point for emotional, imaginative and at times narrative reflections on museology.
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