Built during Digital Product Design Fellowship at MoMA
Through reimagines how we develop visual literacy and build personal understanding of art. While conceptualizing this tool around MoMA's collection and learning challenges, I prototyped using the Metropolitan Museum's open access collection—their 400,000+ artworks provided an ideal foundation to validate the concept.
The approach is fully transferable—the underlying principle of semantic query expansion and relationship mapping works across any museum collection.
Role Product Designer, UX Researcher, Developer
Duration 3 weeks
Tools Gemini 2.5 Flash Lite, Met Open Access API, Google AI Studio
During my time at MoMA, I observed challenges validated by the institution's search and learning research:
Traditional museum experiences are curator-driven. Visitors follow predetermined paths through galleries, organized by period, geography, or medium. Wall labels tell them what to think. The institution's voice dominates.
Digital collections create a paradox of overwhelm. The MoMA has 106,000+ artworks online, yet research showed users struggle to find and understand them:
Art learning remains gatekept by knowledge barriers. MoMA's research on visitor intent revealed telling gaps:
Thematic exploration hits a hard wall. When users search for conceptual ideas—"women photographers," "AI artists," "grief," "power," "loneliness"—the current system can't help. The Met's metadata uses descriptive fields (artist names, materials, subjects) but has no bridge to how people actually think about art.
If people had control over their own conceptual lens, they could practice building understanding on their own terms—transforming the collection from a searchable database into a space for learning through exploration.
Create a tool that lets users:
Guiding philosophy: John Berger's Ways of Seeing — "The way we see things is affected by what we know or what we believe." The tool should make this visible, showing how our chosen lens reveals different aspects of art.
I explored several approaches to art discovery:
1. Emotion Mapper
Input how you're feeling, get artworks that mirror or balance that emotional state. This was closer—using personal experience as an entry point—but felt one-dimensional. A single artwork-to-emotion mapping didn't show relationships or build understanding over time.
2. Serendipity Engine
Describe what you see in an artwork, AI finds similar pieces. This preserved personal interpretation but lacked structure. Users needed a framework for discovery, not just randomness.
3. Art in Society
An equity lens tool that researches and maps out the history of ownership of a piece of art. The user starts searching by location, and sees an artwork that originated there to then track it through time. I didn't go ahead with this as it felt too niche and didn't seem to have mass appeal, it also seemed too large to tackle in terms of finding reliable sources.
The turning point came when I considered how art historians actually work—they trace influences, identify movements, map stylistic evolution. What if users could do the same, but through their own conceptual lenses?
I sketched various relationship visualization approaches:
Why triangles?
[Artwork]
△
╱ ╲
╱ ╲
[Art] ● [Art]
Three artworks, three different relationships to the same concept. This structure:
Alternative considered: Showing why artworks connect only on click—relationships are hidden until clicked—putting the user's seeing first. I decided against this as it adds an unnecessary step to the user flow which might add to the cognitive load of the user and take away from the primary goal of discovery. Instead, I decided to show why artworks connect by default.
Early iterations let users switch between "modes" (visual similarities, historical influences, emotional tones). I simplified it to one lens defined at the start.
Why?
The entire interaction model:
That's it. No configuration, no settings, no barriers between curiosity and discovery.
User types any concept—"loneliness," "power," "grief"—into a centered input field. The empty quotes visually communicate "fill in the blank." The interface begins with just the title "through" in italic serif and an invitation to choose a lens.
Three artworks from the Met's collection appear in a triangle formation, each semantically connected to the user's concept through AI analysis. Gemini 2.5 Flash Lite bridges the gap between abstract concepts and descriptive metadata.
Clicking any artwork creates a new triangle branching from that point. Previous triangles remain visible, creating a visual trail of discovery. Each path is unique to the user's curiosity.
Click connecting lines to edit AI-generated relationships between artworks. Labels are persistent and editable—your map becomes an annotated record of what you've learned, not just what you've seen.
Over time, users build a sprawling web of artworks exploring a single concept through different cultural lenses.
The most critical technical challenge mirrors MoMA's research finding: the Met's collection uses descriptive metadata (artist names, materials, subjects), not abstract concepts. Yet 61% of visitors want to explore thematically.
Solution: Two-stage AI process that bridges semantic and curatorial languages
Stage 1: Semantic bridging
This expansion allows abstract concepts to surface real artworks without requiring the Met to retag their entire collection.
Stage 2: Relationship analysis
This two-stage approach ensures:
My initial designs included multiple modes, filters, and configuration options. Stripping everything back to one lens + one interaction (click to branch) made the tool more powerful, not less. Users could go infinitely deep instead of getting distracted by options.
This mirrors MoMA's search research: when users have too many filtering options, they abandon tasks. Constraint creates focus.
The AI does complex work (query expansion, semantic matching, relationship analysis), but none of that is visible. What's visible is the user's journey—their questions, their path, their discoveries. The AI is infrastructure, not the experience.
Testing the tool confirmed Berger's insight: what you're looking for shapes what you see. The same artwork revealed completely different facets when approached through "power" vs "grief" vs "hands." Giving users control over their lens gave them ownership of their understanding.
One user explored "hands" for 40 minutes, building a web of 30+ artworks across multiple branches. Afterward, they said: "I never thought about how much hands say in art. Now I can't stop noticing them." That's not just consumption—that's the practice of visual literacy.
Current state: Your exploration exists only in the current session.
Enhancement:
Why this matters: Makes the learning tangible. Your map becomes an artifact you can reference, share, or include in presentations/papers.
Add space for reflection alongside exploration:
Visual concept:
Creates a true "of one's own" experience—not just exploring, but documenting your unique relationship with each piece.
Current: AI generates relationship labels, but doesn't explain why
Enhancement: Click a label to see AI's reasoning:
Turns the tool into an active teaching instrument while maintaining user-first discovery.
Give users control over how artworks connect:
Historical Connections
Visual Connections
Thematic Connections
Conceptual Connections (current default)
Implementation:
Why this matters: Different goals for different users. Art students might want historical lineage. Teachers preparing lessons might want thematic groupings. Casual explorers might want conceptual connections. This honors the 61% who want to engage with art on their own terms.
Curated starting points:
Each comes with an expert-written introduction, but then users explore freely, building their own understanding.
Social feature:
Creates dialogue around art—making meaning together. Directly addresses the 28% of users coming for assignments and 22% coming to research—giving them tools to explore collaboratively.
From consumption to practice. Not a database to search, but a space to develop your own way of seeing—directly responding to MoMA's finding that only 11% of users come with intrinsic motivation to learn about art. Through flips that: it makes learning the primary activity, not an afterthought.
From authority to autonomy. Not the museum's narrative, but your questions driving discovery. This honors the gap MoMA identified: people don't want more curatorial guidance; they want to practice making their own meaning.
From information to understanding. Not "here are 50 artworks about loneliness," but "here's how loneliness has been understood across cultures and time—discover the patterns yourself." Builds the visual literacy that 61% of visitors said they lacked.