| Summary: | In the museological context, the interpretation and the correct understanding of the exhibited objects and it’s aura are undoubtedly influenced by the environment in which they are inserted, what is around them, or the void surrounding them. Present on several cultures and different eras, emptiness and void have influenced spirituality and humantranscendence to this day, being reflected on the aesthetic of various art themes. In order to prove the importance of the void in the value of the exhibition, an interpretative study of the exhibition is made, starting with an investigation about human perception and transcendence considering sociocultural aspects of different times and cultures. Thus, in order to find a universal understanding for the collection display of an exhibition, contributing to the innovation and development of the musealization of new spaces. This research was based on foundations and concepts considered by some authors in the history of the disciplines of Museology, Museography as well as Philosophy withontological, metaphysical, epistemological and ethical relevance, also considering semiotic studies and the perception of being. Among them Walter Benjamin, Johann Winckelmann, John Ruskin, Alois Riegl, Georg Hegel, Martin Heidegger, Jean-Paul Sartre, Merleau-Ponty, Wassily Kandinsky, Rudolf Arnheim, Roland Barthes, John Cage, Fernando Pessoa, Susan Sontag and Gilles Lipovetsky stand out by the influence of their works. Related to the whole work of art, this reflection indicates that the emptiness is an element of greater importance for the disciplines of Museology and Museography by enumerating seven paradigms that live from this concept, associating each of them to the field of Museology. For the accomplishment of the present dissertation it was essential to understand all the surroundings that relate the values of the void to the values of the work or museum object in its exhibition context, aiming the complete preventive conservation of the collection
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