By the latter part of the twentieth century many traditional westernmuseam practices were destabilised,not only by diminished trust in meta‘narrativeand universal truth but by insecurities about cultural representation．No longerunderstood as neutral sites for presenting obj ective knowledge,museums wererecognized as spaces of cultural production where choices were made about thenarrativisation of social perspectives(Bouquet 2001;Hooper—Greemhill 1992,1995;Kirshenblatt．Gimblett 2002,2006;Macdonald 1996;Ravelli 2006)．