Preparing for Exhibition

Overview

Lesson 27 of 30 in Exploring Whakairo Traditions. Students move from making and documenting their work to planning a coherent class exhibition, considering presentation, audience, spatial relationships and respectful engagement with whakairo traditions. They use peer feedback to make practical decisions about display and interpretive material.

Learning intentions

• WALT select and organise related artworks to communicate an intentional idea.
• WALT apply appropriate presentation conventions to an exhibition context.
• WALT explain how material, form, process and cultural context contribute to meaning.
• WALT plan respectful ways for an audience to engage with artworks informed by whakairo traditions.

Success criteria

• I can justify where and how my work should be displayed.
• I can contribute positively to a coherent exhibition sequence or group.
• I can write clear, accurate interpretive information without overstating cultural knowledge.
• I can use peer feedback to identify and make a specific improvement.

Curriculum links

• Produce a systematic body of work showing understanding of art-making conventions and ideas within design or painting, including generation, development, editing, selection and ordering.
• Produce a resolved work demonstrating control of skills appropriate to cultural conventions by presenting work that is complete and realises an intention.
• Demonstrate an informed understanding of methods and ideas from established practice appropriate to painting, including how artworks are made, viewed and valued in context.
• Demonstrate understanding of artworks in relation to their physical environments, including purpose, audience, placement and conditions of display.

Lesson structure (120 minutes)

1. 0–12 min · Hook and exhibition brief. Teacher opens the exhibition introduction deck with a contrasting visual comparison of an artwork displayed thoughtfully and the same artwork presented poorly, then asks, “How does the setting change what we notice and understand?” Students record two observations and share one presentation choice that affects meaning. Teacher explains that today’s task is to prepare a respectful, coherent exhibition proposal rather than simply arrange objects.

2. 12–28 min · What makes an exhibition work? Teacher uses the exhibition introduction deck to introduce the exhibition as a sequence of relationships between artwork, space, audience and interpretation. Discuss scale, sightlines, spacing, lighting, height, grouping, order, labels, accessibility and safe handling. Clarify that students should describe their own learning and intentions accurately, seek guidance where tikanga or cultural knowledge is outside their experience, and avoid copying or claiming ownership of customary forms. Students analyse two sample layouts and annotate the exhibition planning and interpretation sheet with one strength and one possible problem for each.

3. 28–48 min · Individual exhibition decisions. Teacher models a quick planning process: identify the work’s intended effect, select the strongest related works, test a sequence, and explain the relationship between pieces. Students complete the first section of the exhibition planning and interpretation sheet, selecting two to four works or studies, sketching a proposed arrangement, and noting materials, process, scale, intended audience response and practical display requirements. Students may photograph work or use thumbnail drawings if pieces are still drying or fragile.

4. 48–78 min · Collaborative floor-plan workshop. Teacher forms groups of four to five and provides a wall or floor area, sample dimensions and available display constraints. Using the exhibition introduction deck for the task steps, groups create a provisional floor plan and agree on a title, entry point, sequence and audience pathway. Each student must place their own work and explain one decision; the group records unresolved questions and responsibilities on the worksheet. Teacher conferences with groups, checking that the proposed arrangement shows development rather than a random collection and that all handling, hanging and cultural considerations are realistic.

5. 78–98 min · Gallery walk and critique. Teacher sets expectations for specific, respectful feedback: describe what is visible, explain the effect, then suggest a practical refinement. Groups leave one representative at their plan while the others rotate. Students use the feedback prompts on the exhibition planning and interpretation sheet to respond to at least two other proposals, focusing on clarity of sequence, physical environment, audience engagement and accuracy of interpretation. The teacher listens for unsupported cultural claims and redirects students towards evidence from their own process and approved class learning.

6. 98–113 min · Revise and prepare engagement material. Teacher returns groups to their plans and uses the exhibition introduction deck to prompt final checks: “What will the audience notice first?”, “What needs explanation?”, and “How will viewers move safely and respectfully?” Students revise one aspect of the plan and draft a 50–70-word wall text or label for one selected work. Text must include title, material/process, intention, relevant influences or established practice, and a question or invitation for the viewer. Students identify one action to complete before the next lesson, such as refining a work, photographing it, preparing a label or confirming display equipment.

7. 113–120 min · Exhibition pitch and exit reflection. Each group gives a 30-second pitch explaining its exhibition concept and strongest presentation decision. Students complete the final reflection on the exhibition planning and interpretation sheet: “Our exhibition communicates…”, “A decision we changed because of feedback was…”, and “Before installation, we need to…”. Teacher collects worksheets and photographs floor plans for use in Lesson 28.

Resources

• the exhibition introduction deck
• the exhibition planning and interpretation sheet
• Students’ artworks, studies, process journals and artist research
• Exhibition space, tables, plinths, boards or masking tape
• Paper, pencils, rulers, sticky notes and coloured markers
• Measuring tape or digital floor-plan tool
• Camera or tablet for recording proposals
• Approved school guidance relating to tikanga, display and cultural protocols

Assessment

• During planning, check whether students can connect selection, sequence and placement to an artistic intention and audience.
• Conference with groups using questions about development, physical environment, accessibility, safety and respectful cultural representation.
• Collect the worksheet and exit reflection as evidence of justified decisions, peer feedback and a specific next step.

Differentiation

• Provide a completed sample floor plan, a word bank and sentence starters such as “This work is placed here because…” and “The audience may notice…”.
• Allow students to explain decisions orally, sketch digitally, or use photographs where writing or drawing is a barrier.
• Pair students strategically and assign clear group responsibilities, while ensuring every student makes and explains an individual contribution.
• Extend confident students by asking them to propose two contrasting arrangements and evaluate which communicates the body of work more fluently.
• For EAL learners, model label language and allow rehearsal with a peer; for students with sensory or mobility needs, plan adjustable sightlines, clear pathways and alternative participation roles.