Introduction:

this work addresses the problem of the statism of the art exhibition that, unlike the exhibition of sciences and museums of social history, on what has been applied a scientific and socio-cultural perspective, respectively; the manner of exhibit art keeps the archetype of the art gallery.

Objective:

the main objective is to know how theoretical information operates in the art exhibition.

Materials and methods:

this study consists in a comparative study between two international cases of art exhibition. One is Itinerarios del vértigo (2015), by a Colombian artist called Sandra Silva, at the Art Museum of Pereira, Colombia. The other is La invención concreta (2013), by the "Patricia Phelps de Cisneros" Foundation's Latin American Art Collection, at the "Reina Sofía" National Art Center Museum in Madrid, Spain. The method is qualitative, based on ethnographic techniques for the collection of data and on codification and classification techniques for the analysis, according to three key descriptors: objects that are exposed in showroom, aesthetic-architectural and internal information.

Results:

the results are about two types of exhibition regarding to a transfer of knowledge perspective: a transfer of knowledge applied to works of art and to aesthetic-artistic devices that are exhibited in the showrooms as well.

Conclusions:

the conclusions are directed to aspects that have been found most significant for a scientific exposition of art according to this transfer of artistic knowledge.

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