The White Cube is used in many exhibitions, and most of the exhibition halls I have been to use this architectural form. But at first I didn’t know why the walls of the exhibition hall were white, and the lights were coming down from the ceiling. I initially thought that this form of decoration is more simple and more economical. But in fact, I can show through my own feelings why the White Cube can make the viewer more focused. Because when I stand in front of the work, I am not disturbed by the outside world because it is a sealed environment, and the clean walls and artificial lights make the work clearer to me.

The exhibition Sehen und Horen offers a physical intimacy that contrasts with the customary physical distance in the White Cube. This exhibition was held in Cologne in 1974. Although the exhibition was held in an art space, the objects exhibited therein were aimed at consumers, so the works were called products. Like film cameras and radios are expanding communication, watches and clocks are how people locate themselves in time and space, and calculators and computers are how people process information. Some products are placed in dark rooms where the audience can listen, and some spaces are used for screens to watch videos. This exhibition emphasizes the combination of hearing and seeing, but the works in this exhibition allow visitors to touch and test them.

Steven Connor ruminates on the various connections between the senses and advocates touch as an accompaniment to the sense of hearing. Whereas the relation between seeing and hearing is that of immediacy, that is, sound is immediate and sight confirms or allows understanding of what is heard, the relation between hearing and touch is that of mimesis.

I think this model of exhibition can be more for visitors to experience, and also can do a good job of interacting between exhibits and visitors. But when the exhibition is exhibiting some famous paintings or very expensive works, White Cube is more suitable for this kind of exhibition.