Roxanne L. Euben’s Journeys to the Other Shore: Muslim and Western Travelers in Search of Knowledge changed how I read and taught.[1] Drawing on the etymology of ‘theory’, which relates to contemplation, speculation ( theōria ) and ultimately spectatorship ( theōros ), another semantic parallel between Arabic and Greek struck me, since the Arabic, naẓariyya , likewise connects with notions of looking and speculation. That we often read and speak of theories as ‘lenses’ is appropriate, then, and here I’d like to reflect on the place of theory in museological practices and the ways that the metaphor of theory-as-seeing could be recast. How far do theories inform how curators stage exhibitions and what place do they have for visitors? Considering the catalogues for the National Gallery’s Michelangelo and Sebastiano , the Tate Modern’s Agnes Martin and the Philadelphia Museum of Art’s Cy Twombly: Fifty Days at Iliam , they present and build upon theoretical bases.[2] Carlos
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