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This paper eschews mere theoretical disquisition about critical museology, suggesting instead some clues to ascertain its influence in museum praxis. Above all, it is propositioned as emblematic of critical museography the use of interrogations instead of assertive discourses; secondly the substitution of impersonal institutional authority by participatory practices and shared interpretations, in order to convey variegated opinions, including those by outsiders; lastly, it is a distinctive feature the emphasis on the subjective nature of museum displays, showing their changes through history, and highlighting the personal authorship of museum presentations and texts.
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