The hanging of art objects in museums reflects evolving curatorial practices shaped by historical, cultural, and institutional contexts. In early modern Europe, artworks were displayed densely in salons and private collections, often covering entire walls from floor to ceiling. This Salon-style hanging, dominant in the 17th and 18th centuries, emphasized abundance and hierarchy, with the most prestigious works positioned at eye level. The 19th century witnessed the rise of public museums, where Enlightenment ideals promoted more systematic and didactic displays. In this period, curators began to adopt more ordered arrangements, often grouped by school, chronology, or genre. The 20th century brought a radical shift with the emergence of the modernist white cube gallery, where sparse hanging on plain walls isolated the artwork and privileged aesthetic contemplation. This approach emphasized neutrality and visual clarity. In recent decades, curatorial strategies have become more experimental, incorporating thematic, political, and spatial concerns. Today, hanging practices continue to evolve, reflecting broader discourses in art history, museology, and cultural critique.