The art museum or gallery is not a neutral space for housing works. As much as it accepts new types of media, they have to adapt to suit the context of viewing and the conventions of an art-historical discourse. This type of institutionalized aesthetic underpins the evaluation of art objects and even imposes a definition on what art is. Working critically through this discourse, this article examines the limitations of art museums and galleries in presenting, evaluating, or addressing the ludological and temporal aspects of video games. First, it outlines how assumptions pertaining to the visual arts carry over into the selection of games as well as their placement within exhibitions. Second, it examines how this discourse, which is invested in the architecture and structure of the art museum, also privileges a particular regime of spectatorship based on shared viewing, the autonomy of art, and aesthetic contemplation.

中文翻译：

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制度化美学：电子游戏与当代美术馆

艺术博物馆或画廊并不是一个容纳作品的中立空间。尽管它接受新的媒体类型，但它们必须适应观看的背景和艺术历史话语的惯例。这种制度化的审美支撑着对艺术品的评价，甚至强加了艺术的定义。本文通过这一论述批判性地探讨了艺术博物馆和画廊在展示、评估或解决视频游戏的游戏学和时间方面的局限性。首先，它概述了与视觉艺术有关的假设如何影响到游戏的选择以及它们在展览中的放置。其次，它探讨了这种投资于艺术博物馆的建筑和结构的话语如何也赋予基于共享观看、艺术自主性和审美沉思的特定观众制度特权。