The first time I ever touched a historical artifact was in the Egyptian wing of the Metropolitan Museum of Art in New York City. Running my fingers over the ancient hieroglyphics carved into the sarcophagus felt transgressive and delicious. A security guard had given only me permission, and my sighted partner observed that other visitors watched with a mixture of fascination and envy. While many museums now offer “touch tours” for blind visitors, which may include opportunities to interact with art and artifacts using 3D models or tactile images, these typically offer access to only a tiny fraction of a museum’s collections and occur only occasionally. For most cultural institutions, accessibility remains an afterthought.
Enter the Dot Experience: the forthcoming, completely redesigned, and expanded museum of the American Printing House for the Blind (APH) in Louisville, Kentucky, which aims to become the most accessible museum in the world. Slated to open in 2026, the Dot Experience will chronicle APH’s long history and introduce visitors to the struggles and successes of historic and contemporary blind people through the excitement of an attraction, the behind-the-scenes insight of a factory tour, and the deep knowledge of an educational center. At its heart is a commitment to inclusivity, inviting visitors to rethink perceptions and biases regarding blindness and to help reimagine a more equitable world.
The Dot Experience is named for Louis Braille’s revolutionary tactile reading and writing system, a fitting tribute from an organization that has been manufacturing Braille books and accessibility tools since 1858. The blend of history and modern innovation at APH extends to the Dot Experience, where the first-person accounts of everyday blind people—students, artists, advocates, innovators—intersect with those of historic and iconic blind figures. Among its artifacts are an extremely rare copy of Braille’s 1829 book that introduced his tactile reading system, a piano that Stevie Wonder played at the Michigan School for the Blind, and Helen Keller’s personal desk and Bible.
One reason most museums maintain a strict ‘do not touch’ policy is to preserve artifacts; frequent handling accelerates wear and degradation. For blind visitors, this can feel alienating.
One reason most museums maintain a strict “do not touch” policy is to preserve artifacts; frequent handling accelerates wear and degradation. For blind visitors, this can feel alienating—a barrier to connecting with the history and culture behind those glass cases. The Dot Experience addresses this challenge by creating accessible, multisensory experiences, such as media pods and 3D replicas, throughout the museum.
“In most museums, if a curator were designing a tour for blind visitors, they might select two or three objects to replicate out of an entire gallery,” says Jo Haas, vice president for museum advancement. At the Dot Experience, all exhibits in the 28,000-square-foot museum will feature a tactile component—whether replicas or sturdier originals.
This ethos of inclusivity extends to every step of the design process. A diverse team of blind and low-vision prototypers offers feedback to Solid Light, the exhibit design firm that is helping the Dot Experience set new standards in museum accessibility. When prototypers tested a replica of Helen Keller’s silver scroll holder—a gift from India—it was initially mounted flat. This made it difficult to feel its full dimensions. At their suggestion, the design team remounted it with pins, enabling visitors to put their hands all the way around it. Similarly, the scroll’s engraved text was found to be too small to be appreciated by touch, so the replica was reimagined with embossed characters instead. In this iterative process, everyone involved is learning the complexities of creating an inclusive multisensory experience.
Inclusive design at the Dot Experience doesn’t stop at 3D replicas. From tactile maps and Braille wall text to ASL interpretation, audio guides, and wheelchair-friendly pathways, the museum is shaping what a truly inclusive cultural space can be. “What’s groundbreaking,” Haas says, “isn’t just the use of replicas—it’s that every printed sign has a Braille companion piece, right there alongside it. It allows you to come in and have autonomy in what you’re interested in exploring.” This autonomy is rare and delightful, especially for blind visitors like me who have often been limited to a few select objects in galleries.
Access isn’t just about compliance. When prioritized, it can inspire creativity and enhance the experience for all museumgoers. As those onlookers in the Egyptian gallery at the Met suggest, blind visitors won’t be the only ones who will enjoy interacting with the many 3D models. “Even if you can see it, you can’t touch it,” Haas says. And that’s the brilliance of the Dot Experience: what begins as access for one group often benefits everyone. Think of curb cuts, originally designed for wheelchair users but now essential for strollers and suitcases. Or audio-described films, created for blind audiences but enjoyed by professional drivers and multitaskers.
By being born accessible, the Dot Experience is modeling a future where museums embrace multimodal and multisensory design as well as diverse and inclusive programming. In advance of its opening in 2026, Haas and others at the Dot Experience plan extensive outreach in the Louisville community and beyond. “Part of the work that we will also do in 2025 is really begin to expand the awareness that people have about this project,” Haas tells me. What they are learning and demonstrating through this process is “not just about museum things.” Cultural, entertainment, and educational centers alike can benefit from the approach the Dot Experience is taking toward accessibility and inclusive design. Reflecting on the potential influence of the museum, Haas’s enthusiasm feels galvanizing: “Wouldn’t it be amazing if we actually spurred a change? Or an update in policy?”
