The Museum of Everything

Imagine a museum containing every artifact ever made and every artifact that could be made — corridors extending in every direction, every wall covered, every surface occupied, every possible variation of every formal sequence instantiated in physical form. The museum already exists, in a sense, as the distributed aggregate output of every generative AI system operating in 2026. The question this museum poses — how do you walk through it, what do you stop in front of, what criteria guide attention in a landscape of infinite abundance — is the curatorial problem that has attended every expansion of cultural production in history, amplified to a degree that transforms it from a practical concern into a structural one. Kubler's framework provides the theory of curation this condition requires: the artifact that merits attention is the one that occupies a structurally significant position in a formal sequence.