According to recent developments in the field of museology, museum exhibitions originate from the curator’s concepts and background, as well as the curator’s organization. They are also influenced by social and cultural contexts. Curating practice is a challenging field, in which a deeper level of governmentality is implicit. As such, based on the combination of museum professional technologies and awareness of governmentality, exhibition governance is proposed with multiple connotations for museum curating. Exhibition governance consists of two parts. First, it is an overall cultural governing technology of museums that involves the governance of visitors. The apparatus of governance can be found in museum exhibition text and exhibition venue design. Based on Michel Foucault’s four technology systems of governmentality (technologies of production, technologies of sign systems, technologies of power, and technologies of the self), a case study was conducted to provide a more detailed understanding about the operating mechanisms of governmentality. Second, from the perspective of governmentality, I discuss the curating team and corresponding mechanisms of visitors. Based on the concepts of the pastoral leadership system of Western Christianity, how the curatorial team and visitors create possibilities for technologies of self in terms of learning and exchange is also investigated. This is the so-called effect of the exhibition in museology. The Dunhuang: Stories of the Caves special exhibition of the National Museum of Natural Science serves as a case study, involving the vast field of Dunhuangology, leading to significant changes and variations in organization and arrangement of exhibition text, and revealing the governmentality of the curators in terms of interpretative power, which further influences individuals’ possibilities for exhibition practices. Taking this a step further, in the first part, as contemporary museology emphasizes elements of visitors and from the starting point of participating curators, exhibition and curating technologies do not operate in a linear fashion. Increasingly, a coordinated team model is being shaped. The members of this team are not limited to the museum’s internal staff. Collaboration can involve various communities and organizations to sti
