In 1963 Giulio Paolini made a work titled "Ipotesi per una mostra - Hypotheis for an exhibition". Entering the exhibition space, the audience was confronted with, instead of artworks, an "other" public, arranged to cram a room, and build-up as an image, an exhibition. The work, as often in the work of Paolini is fundamental to understand the significance and the context of an exhibition. This reference will be a reflection of the constant evolution of the exhibition space, increasing in number and significance. This specific space becomes more and more a tautological element. The display format of the works in relation to the space are part of a more complex exhibition context. The exhibition space becomes, on one hand a material, part of the artwork, on the other a superspace; the intrinsic part of the artwork or a fragment of many other exhibitions. The result is that every attempt to define an exhibition is just a piece of a bigger mosaic. The totality of every exhibition is completed by the interpretation of the audience that is translating it in the external world and fragmenting and reconstructing it. An exhibition becomes a hypothesis for another exhibition through the dynamic of the visitor.