Abstract

We often think of works of art as possessors of meaning, and we think of museums as places where that meaning can be exhibited and encountered. But it is precisely at this first step of thinking about artistic meaning that we too easily import a conceptually entrenched model or picture of linguistic meaning that then constrains our appreciation of artistic meaning and what museum exhibitions actually do. That model of linguistic meaning is atomism: the notion that the single, self-contained word is the ultimate building block of meaning. This picture was excavated with exacting precision in Wittgenstein's sustained reflections on the nature of meaning, and the new way of seeing linguistic meaning that those reflections usher in holds direct significance for our understanding of artistic meaning, as we see here in examples from Rembrandt, Rietveld, and others. A more complete understanding of a dynamic, interactive, contextual, and use-based conception of language better reveals what actually happens in museums and the nature of the meaning we find there.