Museum education. Aesthetic education. How are they similar? How do they differ? How do they relate to each other? What are their goals? As museum educators working with classroom and art teachers, they are often asked these questions, and they ask them themselves. "What do they DO?" is probably the most frequently asked question of all, and the answer is complex. Even more complex is how these questions relate to the Rembrandt Project. Given that looking at original works of art is such a priority for museums and museum educators, how do they address the project's reliance on technology? And how do these questions relate to the social studies and visual arts standards, another major component of the project? How does the project relate to the work they do in their own museums? Writing collaboratively implies that they have certain areas of commonality; but they also have differences, which will be apparent in individual sections of this article: Jean Henning and Nancy Richner discuss the Nassau County Museum of Art, Nancy Blume writes about Asia Society, and Amy Herman explores the Frick Collection. Their focus will be the domain of museum education as that is what they know best, but there are inevitably areas where it overlaps and complements the domains of art education, aesthetic education, and social studies. (Contains 5 figures and 26 notes.)