When White Walls Are Worse
(Welcome to White Walls, Part 2 of 2)
Last time, we learned that the “white cube” began a century ago as a now-timeless experiment in minimalism, not as a means to enhance the experience.
In fact, it might be one of the least visitor- and object-friendly things we do.
White walls reflect light, creating glare and flattening contrast. We’re mostly lighting walls, not objects. Our eyes adapt to the brightest surfaces, shrinking pupils faster than they can expand again. Our eyes can never rest. That makes it difficult to see details in nearby objects.
If not white, then what?
Midtone neutrals, for one.
We could use warm greys, clay colors, or neutrals with a bit of green or blue. We could choose colors that suit what’s on display and the topic. Eyes that look at midtones don’t close up as much. We could use darker tones, too. And if midtones won’t work, may I suggest at least off-whites?
Then we might, you know … see.
Here’s the thing:
I’m not suggesting anything new. Many galleries are non-white.
But white isn’t “neutral.” The best color for our walls is always the one that suits what we show, amplifies the topic, and lets our eyes rest in between.
Warmly,
Jonathan
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MtM Word of the Day:
Sound bleed. When a sound source in one part of an exhibition can be heard unintentionally in another area, in a way that is distracting. In extensive open galleries, sound bleed can be mitigated by minimizing loud sounds, using directional speakers, or incorporating acoustical treatments.
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This Week: SEGD Global Design Awards Event
Heading to San Francisco this week? As the jury chair this year, I’ll be co-hosting the 2025 SEGD Global Design Awards this Friday night (if the FAA doesn’t intervene). I’d love to catch up if you’re there.
