This thesis explores the implications of the #MeToo movement for museum curators and exhibition organisers, and considers how museum and gallery professionals should deal with the ‘difficult histories’ that cultural objects present. It argues that instead of adhering to outdated practices and power structures which negate equality and diversity, museums, galleries and cultural institutions must employ a revised ethical model when presenting such works to the public. In so doing, this thesis reflects upon every aspect of the curator’s role: deciding what to show, the use of appropriate textual material, the placement of works within the exhibition space and questions of community involvement and guardianship of heritage. It concludes that in order for museums and galleries to retain their cultural currency, a reconceptualised notion of curation, grounded on a new museum ethics, must be adopted. This model of curation has to be flexible and adaptive in its nature so that museums and galleries reflect the changing context and needs of contemporary society, not only by acknowledging and responding to the past, but also by challenging it
