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We all thought DIS was responding to the internet but were actually getting in line with the turn toward aestheti-tainment. Museums and galleries, no longer solvent on symbolic capital, with a relevancy we could call dusty, turned toward audience engagement, and realigned with missions with populist modes. They invited celebrities for ad campaigns, made memes and light of their own once stiflingly prestigious collections, having lost distinction between low and high the museums to middle brow with a budget, a sort of consumerist factory of light experience. A prediction for our future.
See too: “Stories of Almost Everyone” at Hammer Museum
