This research is based on the presentation of the functioning and evolution of the museum exposition as a sign system, in which the exhibit – an element of the "text" of the exposition – corresponds to a sign of a certain type. At a semiotic examination of a museum museum items act as signs. They are the main sources of accumulation, storage and transmission of information in the museum space. The museum object, from the point of view of semiotics, can be considered as an object of natural heritage or artificially created by people, seized from the environment of its existence and endowed with the ability to convey a certain meaning, meaning. The ambiguity of the museum object allows us to regard it as a cultural and historical sign. Recognition of the sign for the museum object, in turn, gives an opportunity to look at the museum exposition from a different, semiotic point of view. The space filled with objects appears as a collection of signs and, consequently, is a complex semiotic system, a kind of culturological microcosm, or, in other words, a text. The exposition is not even one, but a lot of different texts: author's, actually objective, spectator. However, these different texts do not exist separately from each other, they mutually develop and supplement, that is, are in constant interaction, conduct a dialogue. In this case, we can state that a real intertextuality is unfolding in the museum exposition. The information-semiotic approach, in which culture is viewed as a semiotic process, opens up a wide range of instrumental and analytical possibilities for humanitarian research.