Yet while he was surely right about the exciting potential of such a ‘language’, Mary
Anne Staniszewski, who discusses Bayer’s work, is surely also right to note that the
‘innovative exhibition design [which] flourished in Europe and the United States from the
1920s through the 1960s’ has been largely ‘ collectively forgotten’ (Staniszewski 1998,
p. 3). Moreover, there has been little attempt to try to understand the way that this
‘language’ of exhibition design might work.