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MuseumS For real

Museum Apps: Why They’re Brutal and How to Fix Them

8/5/2019

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Smartphone apps are BIG; people love them—over 200 billion were downloaded in 2018. I love apps too. I also love museums; yet there’s only a couple of museum apps I love. This article delves into museum apps—the research on what visitors say about them, their key challenges, reviews a handful of good and bad ones, and provides recommendations on how to fix them.  

First things first, museums should consider apps for a few reasons, primarily because people are increasing their use of mobile internet and using apps more. They’re using smart phones to access information, education and entertainment, and, doing so through apps. App downloads are expected to increase 45% by 2022. They also account for 87% of time spent on mobile devices. This shift is significant. Adapting to changes in online behaviour is an opportunity for museums to attract and sustain visitors—in-person and digitally. 

Data on Museum Apps
The data on museum app usage is pretty thin, but a report by Colleen Dilenschneider who collects and analyzes data for cultural organizations describes museum app usage in 2017 and 2019. It reveals low usage rate for museum apps in comparison to other media for visitors planning a museum visit (chart below). It also reveals that museum apps don’t deliver higher satisfaction levels compared to other information sources during an on-site experience. On the surface, it’s grim news for museums. 

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Chart from 'Musing On A Mobile App for Your Cultural Organization? Read This First', Colleen Dilenschneider, (May 1, 2019) colleendilen.com Note: "WOM": word of mouth, "Peer Review Web": consumer sharing sites such as Yelp and Trip Advisor

What’s a Museum to Do?
Should museums even bother with apps given the data that suggests low usage rates? YES they absolutely should. Museums can’t afford to ignore the shift towards app and mobile usage and not dig deeper. Below are factors I suggest contribute to low satisfaction levels, along with a deeper dive into the fundamental problems with museum apps in general. 


Why Most Museum Apps are Brutal
Though it sounds harsh, the majority of museum apps stink—I’m not the only one who thinks so. Just read customer comments on any number of museum apps on the app store—people are pretty blunt; comments include, “horrible”, “does not work with AirPods”, “crashes”, “not worth it” and more. 


​Factors impacting satisfaction include: technical issues, ‘official’ apps versus those developed for profit by outside parties, app design that is poor and/or not intuitive, apps lacking key information like address, admission info, etc. Another issue, most museum apps aren’t integrated into the museum’s strategy—they’re not promoted in museum materials, on the website, or inside the museum. This disconnect affects adoption rate and sustainability. 
PictureScreenshot American Natural History Museum's app. It says 'official' in the title--helpful for differentiation over third party apps.
Fundamental Problems

‘Official’ vs Not
Some apps are not developed by the museum but by a third party—typically for profit. These apps appear to be the museum’s official app, but aren't. This can create problems, one being that the integrity of the museum might be compromised. 

The British Museum in London for instance, doesn't appear to have its own app, but there are at least four  developed by outsiders. All offer in-app purchases; most have poor customer reviews (see image gallery below). 

Some museums that have their own app, as in the case of the Louvre and The Getty, but are competing with others. There are at least two apps marketed to Louvre and Getty visitors that are developed by outside companies. 

The American Natural History Museum addresses the problem by stating ‘official’ in the app's description directly beneath the app's title. (image right). This is helpful.

Technical Barriers
Technical barriers are significant, they include battery drain (mostly for navigation when visitors’ location is tracked on their phones), downloading app content which takes up storage on the phone, crashing and freezing, and audio tours only working with plug in earbuds. Finding the museum’s app in the app store is another barrier— apps that don’t include the museum name creates confusion (one example is Cleveland Museum at Art's app named 'Artlens').

Purpose (?)
Apps are typically designed for two purposes either for visitors to, 1) plan a visit: getting information on hours, fees, current exhibitions, parking, events, etc., OR, 2) for the museum visit: navigating within the museum, self-guided tours, exploring the galleries, and audio guides. A handful do both. Most do neither well.  

​Few apps provide a digital experience designed to go beyond the visit. This (third) category presents an opportunity for museums to sustain engagement by providing a education or entertainment to visitors who have already visited, or are interested in the museum. 

A Disconnect 
There’s often a disconnect between what’s offered digitally—the museum app, and the in-person experience. Usually there’s no mention of the app on museum materials (maps), signage, or on museum exhibit labels. Often the museum personnel don’t know either. Even within museums ‘planning a visit pages’, available apps are rarely mentioned.

Image gallery below with screenshots of select museum apps and visitors comments.

British Museum doesn't have its own app; but there are at least four apps available store (iOs) related to British Museum
Not the official Louvre app; requires purchase to access audio tours. Very poor reviews.
The Met museum in New York City does not have its own app; but there are several by outside developers including this one, by Nicolas Martinez. It gets scathing reviews.
Some apps, like Vancouver Art Gallery take up considerable storage space on the users device. This is a barrier; it may prevent users from downloading the app; and or deleting the app after the visit. Storage space is a concern for users, its the third reason why users delete apps.
An example of a user's comments. They provide valuable insight into visitors' concerns and issues with museum apps in general.
I included this comment to show how technical issues can inhibit the value of an app; the idea may be well conceived, as with Cleveland Museum's Artlens app, but its implementation, and how it works (or not) will impact its success and sustainability. There needs to be a dedicated team to be working on the app after its launch; it doesn't end after its development.
PictureScreenshot of the Louvre app; developed by Louvre yet offers 'in-app purchase'; not consistent with most museums offering their app for free

​Review of Museum Apps
I rate the following apps on: ease of use, quality of content, and educational/informational value on the three dimensions mentioned: 1) planning a visit,  2) in-museum experience, and 3) post-visit or digital exploration. 

‘Needs Improvement’

​British Museum: No official app available. For a museum of this scope, size and ranking, I’d expect the museum to have its own app, more so given that other developers have jumped in the fray with poor quality apps that appear to be ‘official’. 

Explorer, American Museum of Natural History (AMNH), New York City: Kudos to AMNH—they have an ‘official’ app and make it clear. Explorer seems effective for an in-museum experience with location based guidance. It includes a robust section on amenities. The big drawback—it lacks any information on planning a museum visit—it doesn’t even include the address of the museum (!), directions, or the hours. However you can purchase tickets. Overall it’s a huge miss. Reviewers also complain about battery drain due to location tracking. 

My Visit to the Louvre, Louvre, Paris. It appears to be the official app; it focuses on the in-museum experience. But it includes an in-app purchase for the audio guide. This is a poor decision on the Louvre’s part—it seems stingy and doesn’t align with other museum practices. Charging visitors for the audio guide who download the official app creates a barrier to engagement; it's also confusing given several apps by ‘unofficial’ developers all with in-app purchases.

Artlens by Cleveland Museum of Art. A fairly good app designed for the in-museum experience, but there are issues. Though the tours are its best feature (there are several including some designed by visitors), it’s not intuitive. One section on the app titled ‘YOU’,  is designed for the user to add favorite works of art, though instructions are vague. Apparently you can add works “from the ARTLENS Wall”, but it’s not clear where the Artlens wall is. 

The app also doesn’t much value for planning a visit—there’s no address, directions, or details on admission, though it does display hours and events by day. Another downside—it takes up a big chunk of storage space—217.5 MB. It's far more than the ask BKM app (rating below) which takes up only 18.3 MB. Even Instagram is far lower at 113.5 MB.

PictureScreenshot of 'home' page from Getty 360 app. Clicking on the image takes users to a screen with a detailed description of the event or exhibition.
‘'Very Good'

Getty 360, J. Paul Getty Trust, designed for two locations, the Getty Center and Getty Villa. A very good app for planning a visit to the Getty with information on both locations including events, exhibitions, and detailed information on amenities including restaurant menus. There’s also an ‘About the Getty’ section and a downloadable map. Getty 360 is great for the pre-visit, though it could benefit with a function to search the collection, or include a collection highlights.

Art Institute of Chicago, the Art Institute of Chicago. A good app geared to the in-musuem experience; there are over ten audio tours that are well done. There’s also a punch-by-number audio guide for the permanent collection. However you need plug in headphones to hear the audio. The ‘Events’ section is good with a calendar view. But the info section is weak; a ‘Become a Member’ banner displays at the top of the information page before the museum information. Museum information is minimal; only the address and hours are listed. Navigating within the app is poor. 

Overall the app is very good for in-museum experience, but poor for planning a visit. It has potential for a digital experience with its offering on current exhibition tours.

PictureScreenshot of home screen from LACMA's app. Very user friendly, intuitive.
'Excellent'

LACMA, the Los Angeles County of Art. It hits all three criteria; plan your visit with comprehensive information including an event calendar. It supports an in-visit experience with an audio guide, descriptions and directions to current exhibitions, a map with amenities, and my favorite—a search the collection feature. Best of all there are the detailed descriptions of current exhibitions that include excellent overviews and videos. 

LACMA app also works well for a digital experience. Exceptions: some reviewers mention the app freezes; you need separate app for a digital membership card, and you can’t purchase tickets from the app. 

'Outstanding': The Future of Museum Apps 

askBKM by Brooklyn Museum takes visitor engagement to a new level with it’s award-winning ASK app. Not only does it have the features for planning a visit (there is a section that takes users within the app to the museum’s mobile website), but it encourages dialogue between a museum engagement team that includes art historians, educators and curators. Visitors can, “ask questions, share insights via live one-on-one texting” according to the Brooklyn Museum’s website, and “It’s easy and fun, and you’re in control the whole time…” .  

​The app appears part of a cohesive strategy, it’s mentioned on the ‘visit’ pages of its website. There's also signage within the museum about the app. ASK’s two-way conversation with visitors is the future; Akron Museum of art offers a similar program with a virtual museum assistant, ‘Dot’ available through Facebook messenger.. 

​These two programs are examples of museums who don’t view visitors as passive recipients of information, but as active and involved participants contributing to their visit experience.

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Recommendations

Should museums have their own apps? This question reminds me of the time when Facebook (FB) came on the scene and organizations were considering whether they should have a FB page or not, as I said then—it’s not a matter of should, but a matter of when. It's the same with museum apps--it's not should we, but when should we. 

My advice for museums who plan to, or are in the process of building an app:
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  • Do the research: other museum apps, trends in consumer behaviour.
  • Determine the purpose of the app considering the three categories mentioned above.
  • Build the app from the visitors point-of-view; do field testing before launching.
  • Embed the digital experience within the museum culture—an app is not a stand-alone tool but part of a visitor experience that reflects the museum’s values and mission. 
  • Consider options for sustaining visitor engagement after a visit, for example with ‘push’ notifications about special events or new exhibits. Think of ways that Instagram is used by museums, could this be integrated into an app experience? One of my favorite apps, DailyArt, features a daily work of art with its image and description. I often wonder if a museum app could incorporate this type of experience.
  • Consider digital visitors who can't visit the museum; how might the app engage these visitors?
  • Provide a dedicated team to work on sustaining the app after its development and execution. Following up on technical issues, promoting the app within, fixing bugs and updating it regularly is key to ongoing success.  
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​I hope I have provided some ideas for museum practitioners and visitors; in the meantime I’ll continue trying out new museum apps and write an update post in the coming months.

Note: All app screenshots appearing in this post are from Apple app store.

Related Posts
  • Museums and Innovations: 5 Forward-thinking Initiatives, April 24, 2019 
  • Five HOT Museum and Arts Podcasts Worth Listening To, April 16, 2019




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Museum of Geology at School of Mines: A Model for Creating a Visitor-Focused Experience

7/23/2019

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PictureEntrance to Museum of Geology at SD MINES, O'Harra Building
I recently visited a small but mighty museum in Rapid City, South Dakota—the Museum of Geology located in the South Dakota School of Mines & Technology (SD MINES). It’s a gem of a museum (pardon the pun). I share here highlights, pictures and describe why it’s an excellent example of a visitor-focused space that provides ideal conditions for learning and enjoyment.  

The SD MINES is a public research university established in 1885 with a focus on the industry of mining; it’s evolved into a leading science and engineering university in the region. The museum opened the same year as the school with the loan of a professor’s collection of over 5000 mineral and fossil specimens. In 1923 the museum opened to the public and like today, with no admission fees. 

In 1899 the first curated specimen was added
--an alligator snout discovered in the Badlands (a fossil-rich region in SD consisting of 244,000 acres of hills, mountains and grasslands) by Professor O’Harra while on the school’s first paleontology expedition. 

The museum focuses on two areas: 1) South Dakota and Northern Plains fossils and 2) minerals from South Dakota and around the world.  


Dinosaurs and More
The dinosaurs are really impressive; there’s nothing like large-scale skeletons of historic beasts to capture visitors’ imaginations. They almost embrace you when you first enter; though small in comparison to other Natural History Museums, it feels BIG. My favorite display is the huge plesiosaur in the middle of the gallery—a marine reptile of the Mesozoic era with large paddle like limbs and a long neck. This defines the space and creates a wow factor. But the rest of the museum lives up to the wow. Including the mammoth head, also discovered in South Dakota (several mammoth remains have been found in the area, mostly in Hot Springs which has an active paleontological excavation site and museum).

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The plesiosaur skeleton; on display in the center of the Museum of Geology (SD MINES)

The dinosaur skeletons and other fossils are arranged spectacularly in full view, some are in dioramas, others in glass cases. What’s impressive is that almost all the specimens are from South Dakota, discovered by paleontologists on expeditions affiliated with the school. This makes the museum unique—it’s a research institution that openly shares its discoveries with the public and encourages engagement and learning.

Some of the discoveries on display include a near-complete alligator skeleton found in 1924 in the White River Badlands by three professors on an expedition. Another is the Triceratops head added in 1928; it was found in Hell Creek in SD and is now South Dakota’s state fossil. One novel discovery visitors love to learn about is the mosasaur skull, found by a local schoolboy in 1945. It was collected by one of the school’s professors and displayed shortly thereafter. 
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A diorama featuring a Brontops Robustus; discovered in Imlay, SD in 1949 (Museum of Geology, SD MINES)

The Minerals: Bright Cases & User-Friendly Labels
The gem and mineral collection is spectacular. It includes minerals from all over the world, and includes meteorite specimens.  The display cases are well done; they are bright with excellent descriptions. I like the user-friendly labels written in conversational language. They are relatable and help visitors make connections to real life. Take the sulfates exhibit label for instance, it reads “Looking within yourself with Barite”, and describes how barium drinks are used by some people for x-rays to help doctors see contrasts.  


​I compare this museum’s mineral exhibits to the Natural History Museum near me; sadly even though a large, respected museum, its gallery is dark, with even darker cases and labels that use academic language that are hard to relate to.
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Display case from Museum of Geology showing Sulfates. Cases are bright with labels that are conversational and engaging. They include examples that visitors can relate to; an approach that makes it relevant and real.

A Model for Small Museums
The Museum of Geology gets rave reviews on Trip Advisor and Yelp. Both give it a solid 4.5 out of 5 stars. In addition to the tremendous displays, bright and inviting interiors, it has a kid zone with activities for children to engage with, explore and touch. The ‘Touch Table’ is my favorite, visitors can hold and touch different fossils, rocks and minerals. 

The museum's visitor-focused approach creates conditions that invite visitors to explore, establishing the groundwork for learning and discovery. For instance, there are more ‘do touch’  labels than ‘don’t touch labels, including signs that encourage visitors to open drawers, view and explore ('don’t touch’ labels combined with hovering security guards create barriers to engagement). 

Conditions that encourage visitors to engage, explore and feel welcome include:


  • A bright and welcoming space. 
  • Exhibit labels that are written in plain, non-academic language. Some labels ask questions, prompting visitors to think. They also make connections to the real world; referencing things visitors can relate to.
  • More ‘do touch’ signs’, than ‘don’t touch’ signs.
  • Dedicated space for kids to play and explore with activities that aren’t complicated, that invite touch and engagement without requiring significant direction or involvement from an adult.
  • Free admission. It’s low-risk; visitors aren’t burdened with a commitment ‘to get their money’s worth’. 
  • A well-organized website with details for visitors to plan their visit: what to see and do, hours, directions, parking, and that it’s free. Though basic, it’s surprising the number of museum websites that don’t include clear and concise details, like how to get to the museum, parking, etc.
  • Website includes options for visitors who can’t visit the museum in person. There’s an excellent selection of online exhibits with information on topics related to the museum and school. How great is that?

If you ever find yourself in the area of Rapid City, SD I encourage you to visit. The museum is about a 45 minute drive to Mount Rushmore and the beautiful Black Hills of SD. If you can’t visit, check out the Museum’s online exhibits (below). 

​More to Explore
  • Museum of Geology, South Dakota School of Mines & Technology​
  • Online Exhibits, Museum of Geology, South Dakota School of Mines & Technology​
  • Fossils, Badlands National Park, U.S. National Park Service
  • Mammoth Site & Museum, Hot Springs, SD
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Mammoth at the Museum of Geology (SD MINES)
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Innovation & Museums: 5 Forward-Thinking Initiatives

4/24/2019

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This post explores what it means for museums to be innovative in today’s digital culture, and describes unique, forward-thinking programs and initiatives in five different museums.

What does it mean for a museum to be innovative? When thinking of innovative companies and institutions, Amazon comes mind, as does Apple, AirBnB, even Bank of America with its digital tools that support virtual banking (like depositing a check with a smart phone). I don’t usually associate museums with innovation. Words like staid, traditional and stoic seem to describe museums best, traditional ones at least. For the most part, cultural institutions are not leading the way in offering guest-centric, unique, user-friendly experiences. 
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I was reminded of museums’ status as ‘traditional’ institutions in Successful Museum Management a course I’m taking with Northwestern’s Museum Studies certificate program. The instructor, a museum director of a small museum, shared a graphic illustrating strategic planning elements for museums (below); the graphic shows the mission statement and values lasting for 100 years (!). 
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Image of Strategic Plan from Museum Studies course, 'Successful Museum Management', Northwestern University
PictureImage from YouTube video describing how 'Dot' the digital tour guide works through Facebook Messenger app for Akron Museum of Art
A mission statement steers the ship so to speak. Yet a hundred years seems eons in today’s fast-paced environment when technology is drastically changing consumer behaviours. Yet it doesn’t mean that organizations can't adapt with shorter-term goals and objectives. A recent article by an experienced museum practitioner discussed the need for adaptable strategic planning, more importantly, the need for a responsive, flexible mindset that's open to change. 

Easier said than done, change is hard. Yet, one only needs to look at how retail has changed over the last couple of years, the number of big retailers are defunct due to shifts in customer purchase behaviours, for example Toys R Us, Sears, K-mart and others, to see how inability to adapt led to an at-risk business model. Cultural institutions are just as vulnerable. 

So how do museums adapt, become agile organizations? I don’t work in the museum sphere, but I do know that it’s leaders of organizations who act as visionaries, who assess opportunities and strengths within their organization that can lead an organization to sustainability; who know how to  leverage people and resources effectively, are responsive to the environment, can create and implement strategies that meet the needs of customers (visitors) and employees.    

Below are examples of museums that are innovating—are trying new, unique initiatives that disrupt traditional ways of operating. One project listed (SFMOMA’s app), is no longer operating as it was intended at launch, yet I still included it, as it’s a constructive example of how initiatives can be at risk without the support of resources and/or leaders who aren't able to adapt to change.

Grading Art: The ‘D’s Gotta Go
  • Indianapolis Museum of Art (IMA) at Newfields is shaking things up. Its director Charles Venable implemented an unprecedented initiative to streamline the museum’s bulging collection. The IMA was planning to spend $14 million to double its storage for its undisplayed artwork, until Venable decided on a different tactic—rank every item in the collection (54,000 items) with a letter grade, then sell or give away works with a ‘D’ grade. The ‘D’ works represented 20% of the collection. A bold move; a strategy museums may want to do…but don’t have the wherewithal to go there. The NYT’s article (link below) describes IMA’s program and includes a quiz where you can guess the letter grades IMA gave to select art works (it’s fun!).
    • Clean House to Survive? Museums Confront Their Crowded Basement, by Robin Pogrebin, The New York Times
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The Non-Curator Curated Exhibit
  • The Kunsthistorisches Museum in Vienna (Austria’s largest museum) started a yearly program inviting non-curators, typically artists or writers, to curate an exhibition (with free rein) from the museums collection of four million objects. Most recently the museum invited filmmaker Wes Anderson to ‘curate’ an exhibition. The result was an exhibition titled ‘Spitzmaus Mummy in a Coffin and Other Treasure’. A podcast with the museum’s director described the process as challenging at times (with the museum curators), yet ended up being exhilarating for museum staff and visitors.  
    • The Grand Vienna Museum: On Wes Anderson and Juman Malouf [podcast], Museum Confidential 

Fire the Curators
  • It’s hard to believe that a museum would fire its curatorial staff with no intention of replacing them. Yet that’s what Leicester Museums in the UK have done. The council that runs the seven museums initiated a different tactic to engage new audiences—to attract non-museum goers by assembling an “audience development and engagement team”. Another bold move. The council describes it as a “new structure [that] marks a move away from prioritising resource for subject specialist curation. Instead, the service will focus on new ways to support different perspectives, voices and viewpoints in order to increase the service’s relevance to more diverse audiences and particularly to attract those who are traditionally ‘non-museum’ goers. We want to make Leicester’s museums more relevant to the city’s diverse communities.”  Wow! 
    • Leicester museums to restructure curatorial team, G. K. Adams, Museums Journal
 
“Alexa, What IS This”?
  • Digital assistants, like Amazon’s Alexa or Apple’s Siri are changing how we access information at home and on the go, so why not at a museum? Meet Dot, Akron’s Museum of Art digital tour guide. She is always ‘on’ providing visitors with a tour experience of 60 artworks; she also asks thought-provoking questions about the art, designed to stimulate conversation. It’s recommended that one member of the group interact with Dot on his or her smart phone. There is a caveat however, Dot is available only for those who have a smart phone, and  have Facebook’s Messenger app downloaded on their phone. A great idea, but Dot highlights the challenges with technology, there are barriers—not everyone has access to a smart phone, has a Facebook account, has (or wants) to have the messenger app downloaded. However, it’s a great way to leverage technology, and worthy of exploring further. The technology of Dot will be showcased at the Museum Tech conference in October 2019.
    • Connect with Dot, Akron Museum of Art, 

At San Fransisco Museum of Modern Art (SFMOMA) Tech Goes Awry
  • SFMOMA launched its app in 2016 that appeared to be the next generation app for museums, to disrupt the traditional audio guide with its punch-by-number method. When SFMOMA first launched the app it was designed so you could keep your phone in your pocket, no punching in numbers, the app used GPS monitoring to identify where you were located in the museum and would deliver an audio tour according to your movements. Wired magazine wrote about the app, saying this, “The guides will tell you where to go. They'll wait for you, because they know where you are too. [awkward pause] Oh, that sounds creepy—it's not.” The experience, according to Wired, is “immersive and intuitive”. Alas, the technology has lapsed, and now the app has reverted back to a traditional museum audio guide. SFMOMA’s initiative is a good example of how technology is just that, a tool, that needs to be supported by a sustained strategy with resources and commitment. At time of writing, SFMOMA’s app has a 2.5/5 in Apple’s app store :(.
    • ​The SFMOMA’s New App Will Forever Change How you Enjoy Museums, Rene Chun (May 5, 2016), Wired

As we’ve seen with this selection of five unique initiatives, innovation IS happening within cultural institutions, change is afoot with much to look forward to. As in any industry, there are leaders and laggers, I’m going to keep my eye on the leaders and see where it takes us!

Related Posts
  • Museum Apps: Why They're Brutal and How to Fix Them, August 5, 2019 

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