ABSTRACT
This chapter looks at how Iziko South African National Gallery sought to transform its content by welcoming diverse views and embracing debate and discussion on difficult issues. It considers how this worked to bring in ‘different’ audiences to the gallery, at the same time as intensifying debates in South Africa about social and cultural inclusion. We draw on examples of where debate has centred around whole exhibitions (Our Lady, which became Our Lady), and Dean Hutton’s work in the Art of Disruption exhibition. We consider how Our Lady attempted to confront representation of certain groups and how this position was productively challenged by the public. This chapter examines how this exhibition evolved from a ‘closely’ to an ‘openly’ curated exhibition. Discussing the situation that arouse around ‘Art of Disruption’¸ we closely analyse how the museum’s act of inclusion of one artwork was challenged by a lobby group whose goal was to narrow the museum’s focus and programming. We look at how legal action reaffirmed the museum’s freedom of expression, academic research, and artistic articulation in the case of the Art of Disruption. Through these two exhibitions, we also analyse contradictions and contrasts in public responses.
