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His workshops educate business leaders on a better way to connect and offer valuable and available resources for building powerful business connections.But as an alternative to the inwardness and preciousness — the self-contained, even smug feeling — that too many people encoutner in too many contemporary art settings, Höller’s vision of the museum experience is bracing and overdue.Instead of “referring to” or “evoking” or “embodying” (as the wall panels at a modern or contemporary art museum might put it) basic human states and activities like play, fear, eros, bewilderment, and giddiness, Höller has us those things.It’s not just about advocating to your congressperson in support of museums, theaters, or dance companies. It’s a time to think about what “art” is and what it be. To learn effective ways to advocate for your favorite arts organizations, visit the Blogging last year about participatory or “social practice” art, I wondered if a divide might arise between audiences for that sort of art experience and audiences for the more traditional, look-but-don’t-touch kind.The success of the Höller show — averaging 1,700 visitors per day, a 30% lift over the New Museum’s previous exhibition record of 1,300 per day — underlines the possibility that artists working in this mode are altering museumgoers’ notions of what an art exhibition should do for them and what their role in it should be. I’d hate to see the act of beholding something extraordinary fall to the cultural wayside.

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