The immersive exhibition is a specialized exhibition genre flourishing in the 21st century. It creates illusions of time and space by applying multisensory display methods to envelop visitors in a three-dimensional virtual world. The enhanced sense of presence facilitates public engagement. Not only have immersive exhibitions transformed audience experience, they have triggered discussions on the evolution of the museum and how curators can productively incorporate new technology. Based on interdisciplinary theory and the case studies of Grande Experiences (Melbourne) and teamLab (Tokyo), this thesis addresses issues around defining, developing, and curating immersive exhibitions. I discuss the genre’s operation from three perspectives: managing the physical space by using nonlinear thematic frameworks and dynamic displays; curating audiences’ subjective immersive experience by applying natural sensory interactions, mediator-based interactions, and collaborative participation; and identifying multisensory stimulation as immersive exhibitions’ critical attribute. These aspects hold possibilities for implementation in all museum contexts. The purpose of this thesis is to offer curators and exhibition creators practical guidelines on reshaping existing displays and collections with immersive design and technology. Immersive exhibitions encourage museums to rethink the possibilities for enabling and diversifying connections between art, technology, and the public in the digital era
