The so called contemporary "information society" or "globalized society", depending on whether we focus on one aspect of another of the same reality, poses serious challenges to the notions of aesthetic value and artistic production established by modernity. In the same way that artists need to redefine their work in a period in which the flux of immaterial goods over electronic supports dominate, the traditional institutions that hosted and exhibited the artistic products, museums and art centers, have been obliged to redefine their role for allowing their message to reach a public who no longer adjust to the model of audience emerged during the Enlightenment. Nevertheless, regardless of what could be thought, the new museums are obtaining a new key role in the orientation of the art of the new millennium, to the point that we could even say that they are steeling the prominence to both the artist and the artistic product. Quoting McLuhan, the "medium -in this case the art center- is the message". Nevertheless, the sense of these new art containers is still in dispute: from those that are presented as spectacular machinery for tourist attraction (Guggenheim) to those that seek dissolving the distance between producer and receptor allowed by the application of new interactive technologies (medialabs).