The exhibition that no one will ever see: the rise (and fall?) of the mega-exhibition format

This chapter examines the growth of the mega-exhibition format in the 21st century and the oxymoronic qualities of contemporaneity that this investigation may reveal in relation to culture, technology, the economy and politics.

The chapter positions the phenomenon in a context of rapid yet contradictory changes, which display a distinctly spectacular character aligned with key aspects of Debordian spectacle. 

The latter’s extractivist logic is structurally embedded in the mega-exhibition format given its emphasis not only on scale, but also on imposing extreme demands on audiences’ time, which are simultaneously financial, affective and intellectual demands. These are often overlooked or undervalued by mega-exhibitions, whose infrastructure is shaped by the techno-cultural logic of Data Capitalism. 

The chapter concludes by exploring potential paths forward, highlighting the need for more sustainable, inclusive and intimate curatorial practices, which can address the shifting dynamics in global culture, knowledge production and environmental responsibility. Relevant exhibitions analyzed or referenced include Documenta 11 (2002), Documenta 13 (2012), the 14th Istanbul Biennial (2015), the 15th Venice Architecture Biennale (2016), the 57th Venice Art Biennal e (2017), Documenta 14 (2017) and the 60th Venice Art Biennale (2024).