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This article explores the use made in certain museums of the very latest advances in communication and technology. Drawing on primarily North-American theories and examples, we examine the presentation of a particular work of contemporary art, Chris Ofili’s No Woman, No Cry, selected by Tate Britain from the Google Art Project. Our study of this recent case shows how museums apply the same principles of practice on the web as those they have applied for years in their exhibitions and their messages to the public.