The closure of Chinese museums accelerated a digital process that was already underway to better engage Millennials and GenZers. Take, for example, the （count）institutions that uploaded virtual tours, or Lhasa's Potala Palace live streaming, or Beijing's UCCA, reimagining its programming to deliver film and workshopping on popular （platform）.
A further example came from the Terracotta Warriors, Emperor Qinshihuang's Mausoleum Site Museum, gave life to the creations of China's first emperor with WeChat Mini Program. From the cartoon-inspired beauty to the interactive manner in which bite-sized information （present）, it spoke of an initiative designed to engage younger audiences.
Attracting young audiences （be）not only a question for Chinese museums, but moreover a （press）question that concerns a range of industries from traditional companies and brands, to entertainment and technology companies. Young audiences represent change, fashion and the future market, and focusing on young people has the power （attract）other generations.
Museums have to be very clear about their core values. they are storage areas of art and history, they still have to become creative in using their resources to inspire young people. The first objective of museums is never to make money, but rather, to provide understanding of cultural identity by creating content that inspires genuine connections young people.
