A Gallery In My Hand: A Multi-Exhibition Investigation of Accessible and Inclusive Gallery Experiences for Blind and Low Vision Visitors
Matthew Butler, Erica J. Tandori, Vince Dziekan, Kirsten Ellis, Jenna Hall, Leona M. Holloway, Ruth G. Nagassa, Kim Marriott · 2023 · Proceedings of the 25th International ACM SIGACCESS Conference on Computers and Accessibility (ASSETS '23) · doi:10.1145/3597638.3608391
Summary
This paper presents findings from a longitudinal collaboration between researchers and the Bendigo Art Gallery, a major Australian regional gallery, to develop accessible and inclusive experiences for blind and low-vision (BLV) visitors across two flagship exhibitions: Mary Quant: Fashion Revolutionary (2021) and Elvis: Direct From Graceland (2022). Using a Research Through Design methodology, a multidisciplinary team including a legally blind artist, tactile graphics experts, technology researchers, and museum design specialists worked with gallery staff to create multi-sensory interpretive materials for each exhibition. For the Mary Quant exhibition, materials included acrylic tactile cards with braille and large print on lanyards, 3D printed interactive fashion models with NFC-triggered audio, miniature fabric replicas on Barbie dolls, paper doll figures, and a life-size mannequin dressmaking activity. For the Elvis exhibition, the team expanded to include touch-driven artefacts (a 3D printed diorama of Elvis's life, a Graphiti refreshable tactile display showing dance moves, fabric costume replicas, tactile cards), sound-driven experiences (vibrating balloons with bass-enhanced Elvis music, interactive turntables for mixing song tracks), and technology-mediated access (QR codes, NFC tags, audio push buttons). The two exhibitions, spaced 12 months apart, enabled iterative refinement—learnings from Mary Quant directly informed improvements for Elvis. Evaluation included in-situ observation and interviews with BLV visitors (4 for Mary Quant, 36 for Elvis) and gallery staff.
Key findings
Portable tactile cards emerged as the most consistently valued artefact across both exhibitions, serving as information anchors that visitors could carry through the gallery, building confidence and facilitating dialogue with guides. Pre-visit engagement was identified as critically important—participants who had advance exposure to themes and materials felt more confident and engaged more deeply with the exhibition content. The Graphiti refreshable tactile display showing Elvis dance moves received enthusiastic responses, with one visitor dancing along. However, not all multi-sensory translations resonated equally: fabric swatches for the Elvis exhibition received mixed reactions because the connection between fabric texture and exhibition content was less intuitive than for the fashion-focused Mary Quant show. Simple audio push buttons were consistently preferred over QR codes and NFC tags for in-gallery information access due to their immediacy and reliability. Gallery staff perspectives revealed an evolving institutional mindset, with staff increasingly viewing inclusive practice as part of standard operations rather than special accommodation. A key tension identified was between conservation (protecting artefacts from touch) and access (BLV visitors needing tactile engagement). The gallery independently began adopting inclusive practices like image descriptions for online content after the collaboration.
Relevance
This study offers a rare longitudinal, multi-exhibition perspective on museum accessibility that goes beyond individual artwork interventions to consider the holistic visitor experience. The resulting framework—organized around Resources, Interpretation, Experience, and Programming—provides cultural institutions with a practical design tool for developing inclusive exhibitions. For accessibility practitioners, several findings are directly actionable: portable tactile materials that visitors carry through exhibitions are more effective than fixed installations; pre-visit preparation significantly impacts engagement quality; simple, reliable technology (push buttons) often outperforms sophisticated solutions (NFC/QR); and the thematic connection between accessible artefacts and exhibition content must be clear and intuitive. The gallery staff perspective is particularly valuable, showing how sustained collaboration can shift institutional culture from viewing accessibility as a special add-on to integrating it as standard practice. The work also demonstrates that accessible interventions can enhance the experience for all visitors, not just those with disabilities.
Tags: museum accessibility · blind and low vision · tactile graphics · 3D printing · inclusive design · cultural accessibility · multi-sensory · audio description
Standards referenced: UN Convention on the Rights of Persons with Disabilities · Smithsonian Guidelines for Accessible Exhibition Design