Malraux’s article entitled “Museum Without Walls” describes the evolution and transformation that has occurred in the approach and perception of art from physical museums to “museums” of reproduction. Although art museums have only been established within the last two hundred years, their presence has become the established norm for approaching, viewing, and experiencing art. Thus, museums have framed our perceptions as a culture of what art is and should be. Unlike the approaches to art prior to the museum’s establishment, the museum has given the viewer the intellectual advantage of comparison; creating a dialogue between diverse artworks and styles. Similarly, the photographic reproduction of artworks has expanded our knowledge of art and increased our capabilities for viewing and interacting with a multitude of mediums and genres. In other words, the “museums” of reproduction have allowed further discourse between a broad range of artworks, many of which were limited within the constraints of the physical museum. Due to its physical constraints, art museums could not easily represent works of art that were difficult to display or that were essential components in a larger whole. As Malraux puts it, “Of what is it necessarily deprived? Of all that forms an integral part of the whole (stained glass, frescoes); of all that cannot be moved; of all that is difficult to display (sets of tapestries); of all that the collection is unable to acquire” (Malraux 15). Reproductions allowed for underrepresented works to be viewed and in many ways gave them a particular emphasis that would even be lost in their physical presence. Small decorative arts could be viewed alongside monolithic sculptures without being diminished by such differences in scale. This created an entirely new way of seeing and approaching artworks that in many ways abstracted the art from its meaning, purpose, and context. For example, the textures and variants of color within an artwork are diminished when reproduced, giving a mere skeletal reference of its full presence. Although this can create a unique intellectual and conceptual tool, it inevitably takes away from the experience of viewing and engaging with an artwork. The experience of an artwork encompasses not only its aesthetic qualities, but also one’s personal history, the history and context of the artistic medium, as well as the surrounding activities, sounds, and elements of the present moment. For an artwork to truly live and breathe, it must merge within this environment. Hence, the “museums” of reproduction will greatly assist in our continued development in the intellectual aspects of art, but not in its experiential understanding.