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The subject of this article is the situation of archives of art institutions with regard to their public accessibility and usability. After some introductory remarks on the importance of an archive policy for a democratic culture and the problem of terminology when talking about archives, I will take a look at the project Folding the Exhibition. This research project is one of the first in the European context to deal with the situation of institutional archives holdings in the field of art from a practical perspective. This will be complemented by a look at the specific practice in North America, where archivists of galleries and art museums are much more integrated in the archival professional discourse than their European counterparts. As a result, they are also better equipped to meet the challenges of digitization—the subject of the last part of this contribution.  In the case of the archives, these challenges are not limited to questions of storing and mediating digital objects but bring to the fore the question of how to organize the historical transmission of processes that no longer leave a “paper trail” in the literal sense. In this respect, the difficulties associated with digitization are also not primarily technical, but rather organizational in nature. The possibility of mastering these difficulties is primarily dependent on the availability of appropriate resources and trained personnel. In the case of art institutions, this is usually the biggest problem.

Archives without a Lobby: On the Situation of Institutional Holdings in Galleries and Art Museums