When planning an exhibition, the curator is never completely free in decisions about the layout of objects and lighting. Fragile objects and the existing architectural structure put limitations on the light intensity and the installation of lighting armatures. Daylight, although difficult to handle, is preferred as background light for exhibitions of fine and plastic art. The need to decrease light to an acceptable intensity results in hanging shutters or curtains in the windows. This affects the character of the room. The method of protecting objects by a removable cloth over a display case may seem old-fashioned but is still effective. Artificial light is needed for accents, for the indication of the main direction in an exhibition, or for staging a scene, but artificial light may disfigure and discolor objects. One must try to circumvent these problems, by trial and error because ready-to-use solutions are not always available. The author reveals earlier experiences in a museum which was formerly a monastery. In different rooms, different compromises were made which still did not satisfy either the curator, the conservator, or the visitor. In the museum discussed, the author had to deal with large rooms, architecturally designed with too much daylight, with much smaller, darker rooms between. The different in light intensities is too great for the visitor, the sudden change being unpleasant. In one wing of the building, windows are fitted with stained glass (yellow, green, pink, and purple). The resulting color of the daylight is greenish. It would be preferable to keep the window, but how can the light be adjusted?