In order to create and act place-based identity, museums and their theatrical exhibits are essential cultural landscape components (Bennett, 2013, p. 3). By developing particular prejudices and aspirations of high culture for their visitors through subliminal messaging, many museums and galleries contribute to the curation of concepts of national identity. An excellent illustration of how art exhibited in the context of cultural preservation may support specific ideas in defining national identity is Tate Britain's BP: A Walk-Through British Art. Museums run the risk of upholding certain practices that are rooted in imperialism and violence as high culture products and promoters.

The exhibition runs the risk of influencing its viewers to accept a preference for high culture as Britain's primary cultural value as a narrative device. The strong but natural reliance on works from the Western canon in A Walk-Through British Art rarely incorporates the cultural experiences of various British sub-cultures, communities outside of London, racial minorities, and women.

Capturing the breadth of the British national identity, which includes English, Scottish, Northern Irish, and Welsh culture as well as numerous other subcultures, is the task of this show. Because of its location in London, it asserts what or where Britishness is by virtue of its positionality. The exhibition's site, risking to center London life, and organization miss many artistic achievements and cultural occasions beyond the city.

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