ABSTRACT
Most recent theories view both museums and photography as socio-cultural constructions that are highly selective and prone to influences by various stakeholders and socio-political forces. Their selective processes are often defined by-as much as reflect-a complex set of parameters: what is available to use, what is considered most appropriate for a museum narrative, what is socially acceptable or aesthetically pleasing, or what is assumed to be effortlessly perceived and consumed by the visitor. These selections form a crucial, but also invisible, photographic ecosystem in museums1; an ecosystem that defines what is exhibited and how, what becomes present, visible, evidential and influential.
