Modern researchers write a lot about the features of museum transformations, analyzing the theory of communication
and the theory of spectacles. It is obvious that the concepts of entertainment and communication are the result
of destruction of the complex museum “organism” or structure as an institution of memory, because they ignore the internal
antinomies of museum activity, its epistemological and axiological functions. Already in the late 19th — early 20th century
in the works of N. F. Fedorov, F. I. Schmitt and A. S. Kots the specifics of museum as an institution of memory were
determined, and basic theoretical principles of museum activities were formulated. Issues of exhibition practice became
to be leading in these years. A. Lunacharsky calls museum the grandiose “memorial book of mankind”. But the most
detailed analysis of the metaphor of the book in the context of exhibition activities gives A. S. Kots. He compares
the museum exposition with “a book sealed with seven seals”, which should be “removed” to understand a museum
object as a source of knowledge and understanding the past. Are there “seven seals” in the modern exhibition activity
of Russian museums that do not allow a visitor to “read” the true historical, cultural, memorial, artistic and scientific
value of the museum object?