Museums serve as an educational experience for society where people come in to view, observe and critically understand relics and working of the past and also more contemporary art forms. In this context, the term ‘community engagement’ becomes significant for a museum, because unlike the ordinary educational experience, here the people coming into the museum are neither categorized nor are studied in close quarters as can be done in a educational system. An educational experience is a process imparted in many ways. Irrespective of the knowledge base that is involved it is the way the knowledge is communicated that is significant. Similarly in the case of a museum, irrespective of the museum collection, it is how the museum engages its audience and communicates the information in the collection that is significant. However this is not easy as audience segments are quite complex (Templeton, 2011).
It is the audience segment and their diversified interests that make it difficult for museums to plan and present adequate galleries. A museum is a collection of cultural knowledge and as such where diverse groups of audience are involved, then the museum will be challenged in deciphering audience interests so as to present its collections (Housen, 1987). Collections will have to vary based on the type of visitor that the museum warrants. The Falk’s visitor categories shows that museum visitors would either be experience seekers who would want to see renowned and acclaimed pieces which create experiences for themselves or there are the explores who want to learn newer information. The Facilitators are those that want to make their companions, either children or young adults meet their visit goals. There are hobbyists and then there are rechargers who visit the museum primarily to relax. The Dallas Museum of art Visitor Model classifies visitors as tentative observers who might have little experience in the collection or interests.