Even assuming that museum visitors actually wanted to be participants in and not consumers of art, social media now offers an “arena of exchange” on a scale that makes the ambitions of relational aesthetics seem mundane. Not only can phones provide information — and most museums are eager to have their custom apps installed on visitors’ devices — but their camera feature also provides a failsafe way to “participate” in art. Museums are no longer spaces in which to experience art, but rather spaces in which to perform the self having art experiences. Accordingly, curatorial choices are now geared toward encouraging museumgoers to promote their visit. Museums, as they latch onto social media to boost their metrics, have become an appendage of the phone and its platforms, their ways of engaging users, their algorithms for gratifying consumers.