Organizing graphic design exhibitions is always problematic: graphic design does not exist in a vacuum, and the walls of the exhibition space effectively isolate the work of design from the real world. Placing a book, a music album, or a poster in a gallery removes it from the cultural, commercial, and historical context without which the work cannot be understood. The entire raison d’être of the work is lost as a side effect of losing the context of the work, and the result is frozen appearance stripped of meaning, liveliness and dynamism of use. Presenting design in an exhibition space in this way is akin to looking at a collection of stuffed birds in order to study how they fly and sing. In spite of this, it is more and more common to see design as ‘object’, not only in books and magazines, but also in the ‘white cube’ of the exhibition space.