The paper presents a qualitative empirical research on older adults' attitude towards contemporary visual art, bringing an analysis of their responses to the exhibition of the artist Jože Barši in The Museum of Contemporary Art, Ljubljana, in spring 2013. Two groups were focused on and examined before and after visiting the exhibition, where the older adults had direct contact with the artist and his works. The results show the attitude of older adults towards contemporary (Slovene) visual art and the potential of proper education for the development of their aesthetic competences. The analysis was based on theoretical frameworks, related to cultural capital and aesthetic competence, the educational needs of older adults and the theory of art. The analysis demonstrated the importance of the social and cultural context. The author suggests that there should be more possibilities for art education of older adults, in which museums as social institutions should have a special role. If in the education for older adults we follow only their personal interests, we will not manage to make them experience contemporary visual art.V prispevku je predstavljena kvalitativna empirična raziskava o odnosu starejših odraslih do sodobne likovne umetnosti, ki je bila opravljena z analizo odzivov na razstavo del umetnika Jožeta Baršija v Muzeju sodobne umetnosti v Ljubljani spomladi 2013. Izpeljani sta bili dve fokusni skupini – pred ogledom razstave in po njem, ko so starejši prišli v neposreden stik z umetnikom in njegovimi deli. Rezultati kažejo na odnos starejših odraslih do sodobne (slovenske) likovne umetnosti in potencial ustrezno zasnovanega izobraževanja pri razvoju zmožnosti za doživljanje in estetsko presojanje likovnih del. Analiza, ki je temeljila predvsem na teoriji kulturnega kapitala in na s tem povezanem konceptu estetske kompetence, teoriji izobraževalnih potreb starejših in teoriji likovne umetnosti, je pokazala na pomen družbenega in kulturnega konteksta. Avtorica raziskave ugotavlja, da mora izobraževanje starejših na področju sodobne likovne umetnosti ponuditi starejšim odraslim več raznolikih možnosti, pri čemer imajo muzeji kot družbene institucije posebno vlogo. Če z izobraževanjem zgolj sledimo že razvitim potrebam (osebnim zanimanjem) starejših odraslih, jih v doživljanje sodobne likovne umetnosti ne privabimo
