From the origins of displaying, exhibit models and architectural spaces dedicated to this important cultural and social function, have evolved in relation to the different meanings of the aims and purposes of the display. At the time of his birth and first configuration, the Museum has been proposed as a sort of “treasure chest”, guardian of the things contained in it, the ways to present the works and documents were confident in the ability to understand inherent in the eye of the visitor, understood as a scholar or an amateur. With the birth of the modern Museum, as well as the wide phenomenon of exhibitions, the exhibit culture has produced a remarkable breadth of techniques and languages that ables to make the knowledge experience, result of the visit, increasingly attractive and profitable for a public that has more and more diversified interest and preparation. The theories and practices related to the world of communication and to the public behavior patterns have become fundamental benchmarks in this field. The present scenario is further enriched by the complex social function now performed by the museum, intended as a true cultural incubator, permeable and actively responsible to the territory in which it stands, a place of activities that go beyond, although based on, the primary preserving and communicating the documents contained in it. Communication technologies also expand the physical margins of the museum itself and make it very sensitive to the needs, expectations and interests of users.