The 19th century saw the diversification of exhibition formats, expanding beyond academic salons and state-sponsored displays to include independent artist-led initiatives, world’s fairs, and commercial galleries. One of the most notable developments was the Salon des Refusés in 1863, organized by artists whose work had been rejected by the official Paris Salon. This exhibition provided a platform for avant-garde artists, including the Impressionists, who challenged academic norms and redefined the role of the exhibition as a space for artistic experimentation. The late 19th and early 20th centuries also witnessed the rise of commercial galleries and independent curators, who played a crucial role in shaping the careers of emerging artists. The proliferation of international biennials, such as the Venice Biennale (established in 1895), introduced new forms of artistic exchange and cultural diplomacy, reinforcing the exhibition as a global phenomenon. The 20th century brought further innovations in exhibition-making, with movements such as Dada, Surrealism, and Conceptual Art challenging traditional formats and engaging audiences in new ways. Artists and curators began to experiment with immersive environments, time-based media, and participatory practices, redefining the role of exhibitions beyond the static display of objects. Institutional critique in the late 20th century further interrogated the role of museums and galleries, questioning issues of representation, power, and accessibility. These developments redefined the exhibition space as a site for artistic and intellectual discourse, shaping modern exhibition practices and influencing contemporary curatorial strategies.