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How can a state governed institution deal with legitimate and opposing claims, and counter both heteronormativity and islamophobia? What discourses is the Museum institution inscribed in? What power relations follow from that? Is it, due to historic, bureaucratic, and cultural legacies, tied to certain positions and affiliations in the public space? This paper analyzes the situatedness of MoWC, and its discursive belonging. The Museum was criticized for bending to fundamentalist pressure, assuming that it had plans to stop the exhibition, and a media debate on censorship and freedom of speech followed. Although no-one wanted to stop the exhibition, many were critical of the artist's mixing of Holiness and Nudity/ Sexuality. MoWC held dialogues with religious persons. The exhibition mixes photographs of LGBTQ (LesbianGayBiTransQueer) persons in Jerusalem, with quotes from the three Abrahamitic Holy Scriptures condemning homosexual activities and behaviours. This paper discusses the exhibition Jerusalem at the Museum of World Culture (MoWC) in Gothenburg, Sweden. This approach provides an understanding of participation as something that emerges relationally and sets directions for a museum project. digital tool or exhibition) reveals the contributions of a participatory process. Using a descriptive, symmetrical approach inspired by actor-network theory, this study exemplifies how tracing the relations between process and end product (e.g. Museum projects and studies responding to this imperative have been frequent in recent years, but how does participation in museums unfold, and how can external partners’ contributions be evaluated and understood? Based on a practice-led and ethnographic study of a participatory collaborative design process in the Danish Museum of Rock Music,11 As of January 11, 2016, the museum changed it's name to Ragnarock - Museum of Pop, Rock and Youth Culture.View all notes I argue that questions of how participation works – rather than how much and what type of participation is accomplished – should be asked when studying and reflexively planning for participatory collaborative processes in museums. Openness and inclusiveness toward the public are mandatory aspects of contemporary museums.