Synthesizing work carried out by the author over the past twenty-five years, this article proposes a tentative disciplinary definition of critical museology, distinguishing its related methodological interdictions and describing its distinctiveness from what is here defined as operational museology. The article acknowledges the diverse intellectual sources that have informed the subject and calls for a reorientation and separation of critical museology from the operational museologies that form part of its area of study. Critical museology, it is argued, is not only an essential intellectual tool for better understanding museums, related exhibitionary institutions, fields of patrimony and counter patrimonies, and the global and local flows and conditions in which they are embedded, but is also crucial for developing new exhibitionary genres, telling untold stories, rearticulating knowledge systems for public dissemination, reimagining organizational and management structures, and repurposing museums and galleries in line with multicultural and intercultural states and communities.