This essay considers the current impetus toward "democratizing" contemporary art exhibition practice with regards to Deweyan/Shusterman pragmatist aesthetics. The author proposes that Dewey might regard fondly new initiatives at museums and art centers such at the Tate Modern and the Baltic, both which, through various curatorial and programming directives, seek to bring art back to the realm of accessible experience -- not reserved solely for the pleasure (and comprehension) of a "cultured" elite. The issues of audience accessibility and engagement are emerging as primary, and narrative, participatory and reflexive connections between the viewer and the art are being encouraged. While the Tate Modern has received biting criticism for these new "narratives" informing their exhibit schemes, the author considers this approach from an experiential perspective, which she proposes might be negated by an overtly critical lens (and hence the critique). This essay asks, where is negotiation found between contextual information, provided by the museum, and the purity of the aesthetic experience? And what is the possible role of the museum in our present-day society as providers of this experience (the very institutions that Dewey claimed removed art from life)?