One of the first things to greet visitors at the V&A’s new Design and Disability exhibition is a striking blue bench by artist Finnegan Shannon titled, Do You Want Us Here Or Not? This exhibit is a response to the often inadequate seating in museums, which not only acts as a barrier to accessibility for many people, but is more widely symptomatic of ableist approaches to museum and exhibition design.

In this case, the invitation to “Please sit here!” sets the tone for the whole exhibition, which also includes a large sensory map of the layout (located at wheelchair level), a tactile map, and QR codes that link to audio description for blind and partially sighted visitors, and also British Sign Language interpretation.

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Aiming to showcase the radical contributions of disabled, deaf and neurodivergent people to design history and contemporary culture from the 1940s until the present, the exhibition goes well beyond this, addressing an impressively wide range of issues around access, disability and exclusion. It also reveals how ableism operates across a range of exclusions, such as race, gender, class and more.

As the introductory notes point out: “Disabled people past and present have challenged and confronted the imbalance of design in society. This exhibition highlights disabled individuals at the heart of design history … It is both a celebration and a call to action.”

While the fight for disability justice goes back many decades – also documented in the exhibition – it’s only relatively recently that questions of access and equality have gone beyond the physical. These include a wide range of issues related to neuro-inclusion and sensory access, including calm spaces and sensory maps that indicate noisy areas.

My own interest in sound in museums has come partly out of research focusing on the role of acoustics in creating accessible spaces, and from my own experience of noise sensitivity conditions hyperacusis and misophonia. Inclusive sonic design seeks to address how sound operates as a factor of social inclusion and exclusion in places like museums.

The V&A exhibition comprises three sections: visibility, tools and living. Visibility focuses on design and art as fundamental tools of activism and includes work created as part of disability justice movements over many decades. This section is a stark reminder of the justice and rights that only come about through extensive struggles.

Tools highlight the extraordinary contribution to design innovation made by disabled people. Living explores stories of disabled people claiming space and imagining the worlds that they want to live in.

Sections two and three both advocate for the social model of disability in which people are rendered disabled by their environment, something that calls for design solutions (as opposed to the medical model in which people are required to navigate and find solutions to their “problem”).

The exhibition draws attention to a wide range of physical and sensory exclusions, both in the displays and the design of the space itself. The in-house design team includes staff with personal experience of disability who also worked closely with external partners living with disability.

There are plenty of exhibits that can be experienced through touch. For partially sighted visitors, there are strong visual contrasts in the wall colours and the edges of displays are lit up. And there are raised edgings on all exhibits for people using a cane – all of which help with navigation.

There are also quiet areas and plenty of seating. Some of these features are already being incorporated into gallery and exhibition design, and hopefully will soon become standard.

I particularly liked the way various issues intersect in the exhibition, in which a range of exclusions are set alongside one another: race, hearing impairment, youth exclusion and stammering, for example.

Other favourites included the B1 Blue Flame rattling football used for blind football, which visitors can pick up, feel, smell, shake and listen to. The Deaf Rave set and Woojer Vest are designed for deaf clubbers and performers and use vibrating tactile discs that amplify sound vibrations.

The beautiful blanket and pillow entitled Public S/Pacing by Helen Statford offers an invitation to rest, drawing attention to “crip time”, accepting “a different pace to non-disabled norms, challenging conventions of productivity, and resting in radical ways that would actually benefit society at large”.

The blanket highlights the failures of the design of public spaces to include disabled people, “challenging ableist assumptions with care and visibility”. The reverse of the blanket has a quotation from Rhiannon Armstrong’s Radical Act of Stopping (2016), embroidered by Poppy Nash.

The exhibition includes many examples of “disability gain” by which design aimed at a particular group of people unintentionally benefits others, too. An example is the smartphone touchscreen, based on technology developed by engineers Wayne Westerman and John Elias as an alternative to the standard keyboard, which Westerman was unable to use due to severe hand pain.

Initially marketed to people with hand disabilities, the technology was later sold to Apple where it revolutionised mobile phone technology.

The final panel of the exhibition is titled Label for Missing Objects, an imaginative and fitting way to mark the continuing story of designing a world that works for “every body and every mind”.

Design and Disability is a rich, thought-provoking and landmark exhibition. Kudos to the V&A, although its importance is so obvious, I wonder why it took this long to host a show dedicated to disabled artists and designers and the wider social impact of their work.

I very much hope there are plans for the exhibition to tour the UK and beyond, and to become a permanent gallery at the V&A, so that it can inform curation and design work in other museums.

Design and Disability at the V&A runs until February 15 2026.

Laudan Nooshin received funding from the AHRC for the project Place-making Through Sound: Designing for Inclusivity and Wellbeing (2023-24).