The new Acropolis Museum was opened in June 2009 with worldwide fanfare. For this was for the Athenian acropolis – the Acropolis. After two lower galleries, visitors reach the top floor and find what is now the world's most exciting coup of archaeological presentation – a sudden view of the Parthenon. We stand there in the middle of a gallery that sets out the temple's sculpted pediments, metopes and friezes according to the original plan. They are hung on a framework that matches the Parthenon's colonnades at the same orientation and scale and on the same plan as the great temple itself (Figure 1); so that, walking along the gallery, we can imagine ourselves in the temple by just looking out at it on the Acropolis.

As radiocarbon dates were announced, the wall paintings and engravings in Chauvet Cave, France, were hailed as fine art far earlier than any recognised before: here was the ‘Dawn of art’ (Figure 1; Chauvet et al. 1996). Soon after discovery, in 1994, the cave was closed to protect the images from chemical and microbial damage. In 2014, it was added to the World Heritage List. Then, in April 2015, replicas of the most striking imagery were opened at a purpose-built site, the Caverne du Pont d'Arc.

The British Museum and the National Museum of Wales have lent the finds from Kendrick's Cave, in Llandudno, north Wales, for display and storage at Llandudno Museum; and the British Museum has sent the famous body from Lindow Moss, near Manchester, to be shown at the Manchester Museum, 100km away in England. How should metropolitan or national museums relate to provincial museums? Should there be more such loans? The exhibition in Manchester deliberately raises another question too: how – if at all – should human remains be displayed?

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How do visitors make sense of displays? What should curators be trying to achieve with them? Some 70 experts and students spent a day on these and related issues at the Fitzwilliam Museum, in Cambridge University, on 23 September last, to celebrate the completed rearrangement of its Greek & Roman gallery. That project provoked much of the discussion but comparisons were drawn from the current development of Oxford Universitys Ashmolean Museum and from elsewhere in Britain and overseas (James 2009, 2010). Short lectures by Kate Cooper and Lucilla Burn, of the Fitzwilliam, and by Rick Mather, architect of the Ashmolean’s rearrangements, were followed by eight panellists’ remarks on technical and methodological issues; and the day was rounded off with the Museum’s Severis Lecture for 2011,Dimitrios Pandermalis on The new AcropolisMuseum: project and realization’ (Figure 1).