The concept of an “advertorial exhibition” is commonly used to describe an exhibition dedicated to promoting a brand and its products, organized in partnership with a museum or other cultural institution. The initiative for the exhibition comes from the brand itself, and the collaboration can take the form of a more in-depth partnership or simply the rental of exhibition space. This term was introduced by Didier Rykner, a French journalist and art historian, in 2009. It draws inspiration from the familiar terms “advertorial” or “sponsored content,” frequently used in the press. By leveraging the reputation of a museum or cultural institution, a brand seeks to enhance its image, in the same way that a newspaper headline is used to promote advertising content. It is important to note that when a brand organizes an exhibition independently in its own premises or in private spaces, without mixing cultural and commercial aspects, this event is not, strictly speaking, an advertorial exhibition. Similarly, an exhibition independently organized by a museum and focusing on a brand without its direct involvement cannot be classified as a “publicity exhibition.” Generally, the term “publicity exhibition” is used critically to highlight how a brand exploits a museum’s cultural legitimacy without the museum fully fulfilling its role of impartial mediation towards the brand in question. For the company, a publicity exhibition is a way to gain media exposure and strengthen its image, potentially giving its products an artistic aura and integrating them into cultural heritage. For further clarification, one can refer to concrete examples such as the 2020 Louboutin exhibition at the Musée de la Porte Dorée, discussed and criticized by the website “Louvre pour tous” (Louvre for All), which highlights the proliferation of publicity exhibitions in France.