The 20th-century philosopher Hans-Georg Gadamer considered the encounter between the viewer and a work of art to be a dynamic relationship. Meeting a work of art made in the past involves a reaction, an actual event, in the present. Coming across the same work of art later will set up another event, another reaction, in which the artwork will be, as it were, activated afresh by the intellect and emotions of the viewer. When we interpret a work of art, we are teasing out（梳理）its possible meanings in the moment；but those meanings will change, depending on the viewer and the time.
Extend this thought into the world of the museum and it becomes clear that these institutions are not simply about the past. They are, necessarily, about the present. Paintings and sculptures of all kinds become meaningful in the"now"of their being viewed and considered. They shape us as we dig out new depths from them.
In a more purely functional manner, museums are increasingly embracing their capacity to be actors in the present worlds of their communities-rather than simply repositories（存储库）of things of the past, and gatherers and protectors of collective memories.
An example is Derby's Museum of Making, which both respects the city's history of manufacturing and aims to develop skills and inspire new acts of creativity. That in itself is nothing new, of course:part of the purpose of the Victoria and Albert Museum in London was to encourage innovation in design and manufacturing. But the Museum of Making takes things a step further-hosting, for example, sessions for teachers and educators on creating environments conducive to creativity, and"maker challenges"for teenagers. In so doing, it bridges the gap between museum and educational institution.
It is a welcome change. Museums, often in the teeth of terrible loss of income thanks to COVID-19 closures, are increasingly becoming ethical actors, as heavily invested in conversations about the kind of places communities want to be as what they once were. It should go without saying that they need to be properly supported to do this, by the government and local authorities. As the effects of COVID-19 continue to bite, the work of reimagining museums and communities is more important than ever.
