Art and design institutions have a considerable history of exhibitions which incorporate videogames into the curatorial selection, and make certain aesthetic, historical, and value judgements about videogames through these displays. Bruce Altshuler describes the temporary exhibition, the now- dominant form in which Contemporary Art is conveyed, as “ a route into art history, ” while New Media scholar and curator Beryl Graham describes the function of the New Media exhibition as a “ testbed, ” the success of which determines later collection, conservation and historicization. For over 25 years, exhibitions of videogames have been temporarily on display at major institutions, recently the V&A in London, Smithsonian American Art Museum, The Museum of Modern Art in New York, and others.Many different types of exhibitions have emerged over the years, from exhibitions interested in presenting a broad historical narrative, those focused on narrower tendencies or issues within the field of game production, those evaluating the videogame as a designed object, and even monographic shows of a single designer ’ s works. There is also a history of New Media artists making work in the form of videogames that are generally considered separate from these more recent exhibitions of videogames, yet many fruitful comparisons can be made in the aesthetic choices, conceptual issues, and institutional challenges these works run into. Therefore, combining game studies, game history, and New Media art scholarship to examine the effects of curatorial and collecting strategies for videogames addresses a vital new area in the conservation and study of gaming history. In this paper, I outline my research on the history of how videogames have been exhibited, developing a typology of game exhibitions and analyzing what sort of aesthetic, social and value arguments they make about videogames.