**8. Conclusions**

The quality of Art holography installations has been limited, in part, by a lack of knowledge of the technical criteria to support effective viewing. We have at least moved on from dark rooms and poor reconstruction lighting to more favorable environments, but the full dynamic range of images is still not fully understood and/or acknowledged. There are some large collections out in the world such as the *Global Images*<sup>5</sup> collection, which, sadly, is in storage and the *C-Project*<sup>6</sup> collection, which is in the safe hands of the Getty Museum in the USA. These hologram collections are being saved, but unless specific information on playback illumination and the viewing requirements for the many images is available and understood, it is possible when these are displayed in the future their impact will be diminished and the experience of viewing these art works will be undervalued. Hopefully, the discussion I have presented in this paper will assist artists in creating holograms and designing exhibitions and will advance a dialog to remedy this by establishing more precise exhibition and display guidelines. In the meantime, we may only be seeing part of what is really there.

**Funding:** This research received no external funding.

<sup>5</sup> https://www.globalimages-hologramartcollection.com/melissa-crenshaw.

<sup>6</sup> http://news.getty.edu/getty-museum-announces-donation-105-holograms-created-by-20-noted-artists.htm.

**Conflicts of Interest:** The author declares no conflict of interest.
