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which museum objects are frequently used as just metaphors of time in an imaginaryspace.The significance or importance of a museum object has a direct relationship withsociety in any of its forms – from family to nation or race. If we exclude at this momentits material (monetary) worth, we shall see that the level of social identification,recognition and assessment of the value of an object is most important in the scale ofthe different levels of its evaluation. Professional or scientific evaluation is an essentialprecondition in the process of ascribing value, because through it a clear system ofselection is carried out. But the significance or importance of a museum object comesmost patently to the fore in the communication processes in which the museum missionvia exhibitions or other forms of communication is directly transferred to the level of thecurrent social moment. All kinds of social groups fine answers to some of theirquestions when they come face to face with the museum object. The museum object,particularly in those situations when it tells of historical events, to some extent playsdown the valorisation processes that judge it only as artefact, naturefact or work of art.In the suffusion of the achieved values, the significance of the museum object will rise ifit obtains social support. In this context some objects will become sacrosanct, while themuseum aura will bring some to a certain level of alienation (Maroevic, 1993:153).ConclusionIt is not hard to conclude that the museum object, studied and interpreted in one of thesaid ways, will become a historical source and a document of life, events or any kind ofhuman activity in the past. But it is proper not to lose sight of the fact that every objectcan be a historical document if we take into account its historical or social identity.Everything depends on the fact of whether during its lifetime it has acquired thoselayers of credibility without which it can be believed only with difficulty. On the otherhand, the common life of objects in a museological context, objects that in the pastnever lived together, opens up new possibilities for the representation of knowledge orat least a complex structure of knowledge in which the input parameters of eachindividual object will be crucial for a conclusion about the whole. This is verycharacteristic of historical museums and historical exhibitions. The classification ofmuseum objects in general or special museums into – artefacts, artistic, archaeologicalor natural history objects or any other kind of object is not relevant if we want tointerpret history in museums. Every object, irrespective of origin and kind, can be thebearer and transmitter of information and messages about the past. The mostimportant thing is its historical testimony and its ability to give authentic testimonyconcerning historical events, processes or times that we connect it to, in any of thecommunicational museological processes. The special ability of the creator of museumcommunication lies precisely in the selection and quality connection and juxtapositionof museum objects so as to be able to present a given subject authentically andcredibly. This creates a new reality that corresponds with the past and which makes thepast current in the present, in a manner that meets the requirements and conditions ofthis new present. The interpretation of the past thus becomes part of the museologicalcommunication process, which leads us in the direction of the relativity of the past. Theaggregate of views onto the past, at once made current and yet relativised, via thechoice and interpretation of museum objects, approximates a general and at the sametime a virtual view into the past. Thus the museums and their communication serve fora simultaneous making-current and a relativisation of the past, which sometimes entersinto the scientific sphere of history, and sometimes remains at the level of a possibleview of the past through the ever-present prism of the present.References336