Redefining Scholarly Work

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When I returned from the Texas Association of Museums Conference this year, one particular conversation kept tugging at me. A colleague and I had been talking about the new Alliance for Texas History journal, and I casually mentioned an idea I’ve been mulling over: submitting a paper based on research I’d done for a history exhibit at my museum.

Their response was immediate and enthusiastic. “You should absolutely submit something,” one colleague said. Another chimed in, “Now that you have your doctorate, you can do this!”

That comment stuck with me—not because it was untrue, but because it got me thinking: Was I only now qualified to write something scholarly? And if so, how many museum professionals—whether they’re exhibit developers, educators, collections managers, or registrars—hold back from submitting papers simply because they feel like they’re not “qualified”?

In my 23 years of exhibit and program development, I’ve encountered countless historical threads, unexpected connections, and fascinating human stories—many of which I never see show up in academic journals. That’s partly due to the nature of exhibitions: we design tightly focused experiences for broad audiences, with label copy carefully tailored to specific reading levels and visitor needs. By the time an exhibit opens, a ton of research has been distilled into something small, accessible, and engaging. And yet so much of that research—the richness, the context, the detours—is left behind.

Which leads me to this question: What happens to all that research after the exhibit is installed?

I kept coming back to that thought after finishing my exhibit, Canning with Viola, which focused on local food preservation history and included oral histories, archival photos, and even a collaboration with a local 4-H group. The process was deeply rewarding, and the research went well beyond what ended up on the walls. I’ve decided to take that unused material and turn it into a paper that not only explores the history but also includes narrative elements about the exhibit development process itself.

Before diving into writing, though, I reached out to a colleague who sits on the review board for a scholarly journal. I asked: What’s your take on museum professionals (PhD or not) writing and submitting papers like this?

Their immediate response was: “What a great question! YES. Please send us your work. We are open to work from anyone who writes thoughtful, evidence-based history!”

That encouragement was the final push I needed. Now, I build into my exhibit production schedule a parallel schedule for writing a corresponding paper to submit to scholarly journals. It’s a way to ensure that the research lives beyond the exhibit—that it reaches different audiences, contributes to ongoing conversations, and elevates the work that so many museum professionals do every day.

It’s also a form of professional development. Writing for journals challenges us to revisit our research with fresh eyes, hone our historical arguments, and engage with peer review. Just as importantly, it adds to our professional portfolios—something we can point to when applying for grants, promotions, or future roles. It demonstrates that our work not only communicates history to the public, but contributes meaningfully to the broader field of historical scholarship.

So here’s what I’m wondering now: What if more museum professionals shared the deep research behind their exhibits? What if we looked at ourselves not just as interpreters and storytellers, but as contributors to the historical record?

Because maybe it’s not about being “qualified.”
Maybe it’s just about recognizing that what we do counts.

You can download the Exhibit to Essay Mini-Toolkit to determine whether your exhibit research is a strong candidate for scholarly publication—and to help guide your writing process.

Alt Text: Watercolor illustration of an open book with one blue page and one yellow page, outlined in red, surrounded by colorful swirling flourishes—blue and teal on the left, and orange and red on the right.

Next Sunday will feature PastPerfect vs. CatalogIt: Choosing the Right Fit for Your Museum and the mini-toolkit, Collections Management System Decision.