cost of touch screen monitors for museums made in china

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I get this question from friends and clients fairly regularly. What kind of recommendations do you have for a touch screen in an exhibit for my budget?

I originally posted this on June 21, 2017, last week I did a presentation at the New Mexico Association of Museums conference and wanted embed my presentation. I"ve also updated the content to include some more ideas.

The prices below do not include the prices of software development because that depends on the complexity of your project and who you hire. Here are a price ranges to give you an idea:

Pros: Basically free - this is even in a price point where decently well-off hobbyists can get in on the action. They"re also easy to purchase and replace if something happens to them.

Cons: The Pi is a wonderful thing for the price, but it isn"t a super powerful computer. You won"t be able to run really fancy, graphically intensive programs on this. Also, the screen isn"t big - only 7" diagonal. Finally, I am not sure I"m ready to guarantee that this is museum quality hardware that can withstand children banging on it every day.

Cons: I"ve heard a lot bad about using them in exhibits when they"re mounted. They tend to overheat and break down. They"re really not made for that kind of thing. Also has a small screen.

Project Ideas: So they tend to work pretty well as reference guides for docents, but that can also backfire. I"ve been to museums where instead of interfacing with visitors, the docents have their nose down on the tablet and are just reading stuff to them. It"s pretty silly, frankly. Visitors are also capable of Googling things.

Pros: Small and inexpensive. Great for streaming media, also can purchase in Enterprise Mode if you want to manage a bunch of them or unlock other options. They"re compatible with some touchscreens, but you"re likely better off using something else if you"re trying to create a touchscreen kiosk program.

Project Ideas: One particular project that I know this is being used for is the ViewSpace theater in the New Mexico Museum of Natural History & Science. The old computer died, so now they"re streaming the content using a Chromebox.

Cons: I"ve seen these get broken into a lot in exhibits. Apparently there are some better ways to lock them down now, though. Small screen. If you want to have your app run on it, you have to go through the Apple Store even if you don"t want it to run anywhere else.

Cons: Make sure you build a good case for this thing. I"ve seen people break into these with a flash drive if you don"t block all the ports. Also not a good choice if you want a huge screen.

Project Ideas: Nice educational games, video viewers, etc. Maybe an app that uses computer vision with the built-in webcam that some of them have. At this point, the only limit is your imagination. :-)

Pros: This is a really unique piece of hardware that allows you to include physical pieces in your interactive. You also get two touchscreens for the price of one, which is a good deal. There are free apps that you can download from the Sprout marketplace that are pretty neat - there"s a measuring app, an app that allows you to create stop-motion videos, one that lets you convert currency, and many more.

Cons: Sometimes difficult to work with. On the first version, the hardware was a little finicky. I had to have one of the touch mats replaced, but on the other hand, the support staff was really friendly and mailed the parts right away. Hopefully they"ve improved that. Also, the buttons to turn it on and off are in a really conspicuous place, so you should be mindful of how you use it in your space.

Project Ideas: 3D building applications, walk visitors through assembling items, Allow visitors to walk a figurine through a 3D model of a historical site - lots of cool stuff. Also see Sim Pueblo

Cost: Touch screens range from ~$250 for the smallish ones (in which case you should just buy an all-in-one PC) to $1600 for a 55" to $11k for an 80" one!

There are a lot of options for computers. You can get any tower to work with these, or you can look at a small form-factor computer like an Intel NUC. Ballparks - $500 - $800

Pros: You can get exactly what you need to run really awesome software that makes a huge visual impact. They"re also flat screens, so you have a lot of options for embedding it in the wall and making a seamless experience.

Interactive Projections are one of those wonderful and flashy fun things that people love. One of the great things about them is that they don"t really need to cost as much as you think - you just need a projector, a computer, and a 3D camera.

Cons: Software cost will be a little bit higher than a typical touchscreen because you have to spend more time on the installation and testing. Don"t expect to get perfect touch capability unless you buy an expensive all-in-one setup. This is better for more experiential interactives. Also, make sure you plan this for a dark room - if you want to put it somewhere near a window, expect to pay A LOT of money for a projector!

Project Ideas: One of my favorite things I"ve seen with this is an interactive sandbox (shown above). You move the sand around with your hands and then it projects a topographical map on it. A fun program that my colleagues at Highlands did for a museum in Las Cruces is a thing where you step on dinosaur footprints to learn more about what dinosar made them. All kinds of good stuff!

A short-throw projector. You want a short-throw projector so you can mount it close to the wall and not worry about people"s shadows on the projection. I found a bunch of them on B&H photo. Look in to find the ones that are supposed to last a long time. The last thing you want to do is buy a cheap one and have it burn out in a month.

Pros: A lot of software possibilities. Some tables are safe for drinks, and Ideum"s even support tangible objects. They allow for a lot of interaction between visitors, also.

Cons: Expensive, debatable how long they last. I"ve heard that they aren"t projected to last much more than 3 years, but you can replace the touch screen if you need to.

If you really want to make a statement and put something huge in your space, think about a touch wall. They"re not as limited by light as a projection, and they"ll definitely turn heads. These can either be purchased as straight - up video or as touchscreens.

Cost: Goes up exponentially! You"re looking at $50k - 100k for the screens alone. You also need to get a beefy computer with a really beefy graphics card to be able to handle running a program on multiple screens simultaneously.

Cons: Very expensive! You"ll need to talk to a company that specializes in them. For my research, I talked to Planar Technology and they were helpful and great even though they knew I couldn"t buy anything. They make professional grade products, which is important. You don"t want to spend tens of thousands of dollars on a product that will break or not be able to hold up to the rigors of a museum environment.

At present, LED screen display is in the stage of development and growth. With the continuous development and maturity of LED display technology, in addition to traditional indoor and outdoor fixed installation and rental LED screen, many market segments have been derived, such as floor led screen, football field screen, creative led screen etc. The appearance of the creative LED screen is the inevitable result of the development and maturity of LED display technology.

Settings: Brightness, Contrast, Clock, Phase, H-position, V-position, Auto-Adjust, Aspect Ratio, Sharpness, Color Temperature, OSD Timeout, OSD Language, OSD H-Position, OSD V-Position, Recall Defaults, Video Priority, Information, Touch On Sleep Mode, Touch Thru

If you’re the owner or manager of a museum, you should know that that installing interactive screens throughout your museum will make the information presented more accessible, more interesting for young people, and more modern. Visitors at your museum will take note of how convenient and easy it was to navigate and understand each exhibit with the help of your interactive touch screen solutions.

Imagine being able to explore the history of each exhibit through the combination of a variety of media. There’s no limit to what you can do with touch screens for museums by Digital Touch Systems. Our touch systems allow total synchronization among all devices, and integration of fully customized features.

However you want the software for your digital screens to work, we can accommodate you with them. Our talented and hardworking touch screen software development crew can make your ideas come to life. Your logo and museum name can be included in each page of your personalized touch screen software. If you choose, you can communicate directly with our touch screen software team to make sure they add all of the functions you want and design it the way you like it.

We can deliver all products straight to your museum. Setting them up takes only minutes. They will include all mounts and everything you need for installation. At Digital Touch Systems, we stand by the quality of our products. Let us provide you with touch screens for museums that bring your displays to life! Take the first step and contact us today!

Over the years, a wide range of Pro Display’s products have been specified for museums. For a number of reasons, many products that Pro Display offer are ideal for creating some of the best museum displays possible, from interactive projection touch screens that make up entire displays, to supporting screens that supplement a museum exhibit display, it is quite probable that Pro Display offer a product that will suit, and often even surpass your museum display needs.

As the technological landscape changes, so do desired display solutions and the transition from printed to digital signage has been a huge step in this direction. Few industries feel this transition as keenly as museums, who often rely heavily upon signage to direct and inform visitors. Indeed, for museums, signage makes up a significant part of their experience, so the media that is used for this central aspect of business is highly important for the general customer as well as the organisation’s reputation.

An effective museum display can take on many forms, from a high brightness screen to contend with ambient light to an interactive freestanding kiosk for self-service or self-educating means. The uses of all these technologies within a museum environment also varies drastically, such as being used for wayfinding, as part of a museum exhibit display, or even the exhibit itself – the applications are only limited by the choice of technology. Luckily, Pro Display have many years of experience working with museums and designers to help supply them with the best museum displays available using the most cutting-edge technology on the market.

A great example of a cutting-edge product that is becoming increasingly popular in museums is Pro Display’s Transparent LCD Display Cases. These breath-taking visual marvels offer an effective, backlit display unit that overlays white content as transparent on the screen. Using this feature creatively, museums can virtually eradicate the need for additional exhibit space, combining the display case and supporting screen into one unit. Ideal for displaying high value or fragile items out of reach, Transparent LCD display cases are a great way to impress visitors using a museum display that is as effective at communicating information as it is building excitement in, for example, a reveal and conceal exhibition application.

Likewise, Switchable Smart Glass technology offers a highly effective reveal and conceal privacy product, serving as frosted glass that changes to clear on command. Using various activation methods, such as voice or sensor, museums can tailor this technology to suit their exacting needs, enhanced with various glass options as well as the retrofit Self-Adhesive Smart Film as available possibilities. Combine this with the option of using this amazing glass as a projection screen and the applications become a lot more exciting than a basic reveal and conceal application.

However, perhaps the most popular development in recent years has been museum touch screen displays, which are widely used in these environments due to their interactive nature. Using Pro Display’s intouch range, most display options can be granted interactivity, including the above-mentioned Transparent LCD Display cases and Switchable Smart Glass. People often peruse museums at their own pace and therefore a self-service interactive display can be a highly effective tool for the interested and meandering visitor alike. A touch screen display allows museums to offer visitors infinitely more information, more entertainment and more control over the way and pace that they digest this information when compared to traditional signage. It is little wonder, therefore, that touch screens are becoming a central part of the museum experience.

Visual effects are also highly popular in this environment due to the on-going challenge of creating a memorable museum display. Specialist visual effects are a great way to immerse visitors who crave a new experience that they can take away with them. Offering a memorable visual experience can help to drastically change the way exhibitions are perceived and is a cornerstone of the museum model. Visual effects can also help museums respond to challenging environmental conditions such as high ambient light or reduced space.

A very popular choice for museums, Pro Display’s Holographic Effect Projection Screens provide a floating image visual effect. Also known as ‘Pepper’s Ghost’ effect, this technology is ideal for creating effective ghostly images to re-tell stories of their history, for example. Alternatively, using this screen for hi-tech or hologram-styled displays is also incredibly powerful. As a semi-transparent projection screen, these displays can show bright, sharp and vibrant 2D images that appear to float as an Iron Man-styled hologram, with superior performance, definition and no critical angle of projection to boot.

Due to the remarkably visual aspect of the museum experience, high ambient light is often a requirement of the environment so that visitors can clearly see what is on display. However, this can often clash with the high reliance on digital signage displays seen by museums. Many forms of digital signage can be affected by the glare often associated with environments that suffer from high levels of ambient light; Pro Display offer a range of products that can help combat this. Depending on the nature of the high ambient light and the technological requirements, the range of products are vast enough to help combat this for most applications. A High Brightness LCD Screen, for example, offers an effective alternative to standard LCD signage in areas of high ambient light. An Ambient Light Rejecting (ALR) Projection Screen, at the same time as rejecting ambient light and displaying images with stunning contrast, colour and resolution, also offers the ability to edge blend using a UST projector, which enables uniquely shaped and intriguing displays. Our Anti-Glare options, on the other hand, are a retrofit based product that helps existing screens deal better with glare so museums don’t have to change their exhibit too much to accommodate high ambient light.

As an ultra-short throw (UST) projection screen, Digital Glass offers museums an incredible space saving display solution that delivers high brightness and unparalleled contrast in brightly lit environments without creating hotspots. Ideal for professional, high quality displays, these screens provide a robust digital signage and exhibition solution that are great for large format projection, simulation applications and even as an alternative to video walls. The polished edges of these rigid screens enable multiple panels to be installed side-by-side, allowing designers to create huge seamless screens without bezels. Factoring in the ability to convert these screens to accommodate 3D and edge blending, they are perfect for simulation or CAVE projection applications that require visitor immersion, so it seems obvious that they would perform exceptionally well in a museum environment.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility, available in 1.9 and 2.6mm pixel pitch (wall) and 2.6mm (floor).

From cinema content to motion-based digital art, Planar® Luxe MicroLED Displays offer a way to enrich distinctive spaces. HDR support and superior dynamic range create vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge MicroLED technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior décor.

From cinema content to motion-based digital art, Planar® Luxe Displays offer a way to enrich distinctive spaces. These professional-grade displays provide vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior decor.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

From cinema content to motion-based digital art, Planar® Luxe MicroLED Displays offer a way to enrich distinctive spaces. HDR support and superior dynamic range create vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge MicroLED technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior décor.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

LED video wall solution with advanced video wall processing, off-board electronics, front serviceable cabinets and outstanding image quality available in 0.9mm pixel pitch

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility, available in 1.9 and 2.6mm pixel pitch (wall) and 2.6mm (floor).

Carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility for various installations including virtual production and extended reality.

a line of extreme and ultra-narrow bezel LCD displays that provides a video wall solution for demanding requirements of 24x7 mission-critical applications and high ambient light environments

Since 1983, Planar display solutions have benefitted countless organizations in every application. Planar displays are usually front and center, dutifully delivering the visual experiences and critical information customers need, with proven technology that is built to withstand the rigors of constant use.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility, available in 1.9 and 2.6mm pixel pitch (wall) and 2.6mm (floor).

From cinema content to motion-based digital art, Planar® Luxe MicroLED Displays offer a way to enrich distinctive spaces. HDR support and superior dynamic range create vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge MicroLED technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior décor.

From cinema content to motion-based digital art, Planar® Luxe Displays offer a way to enrich distinctive spaces. These professional-grade displays provide vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior decor.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

From cinema content to motion-based digital art, Planar® Luxe MicroLED Displays offer a way to enrich distinctive spaces. HDR support and superior dynamic range create vibrant, high-resolution canvases for creative expression and entertainment. Leading-edge MicroLED technology, design adaptability and the slimmest profiles ensure they seamlessly integrate with architectural elements and complement interior décor.

Advanced LED video wall with MicroLED models in 0.6, 0.7 and 0.9mm pixel pitches, and 1.2mm pixel pitch standard LED; with powerful processing, proprietary alignment technology and off-board electronics.

LED video wall solution with advanced video wall processing, off-board electronics, front serviceable cabinets and outstanding image quality available in 0.9mm pixel pitch

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility, available in 1.9 and 2.6mm pixel pitch (wall) and 2.6mm (floor).

Carbon fiber-framed indoor LED video wall and floor displays with exceptional on-camera visual properties and deployment versatility for various installations including virtual production and extended reality.

a line of extreme and ultra-narrow bezel LCD displays that provides a video wall solution for demanding requirements of 24x7 mission-critical applications and high ambient light environments

Since 1983, Planar display solutions have benefitted countless organizations in every application. Planar displays are usually front and center, dutifully delivering the visual experiences and critical information customers need, with proven technology that is built to withstand the rigors of constant use.

A touchscreen media kiosk developed for museum patron interaction and information display. The screen angle is adjustable to allow for users of all heights.

DISPLAX TILE is the easiest way to implement touch video walls both for signage and collaboration markets, combining great functionalities with great sleek design.

It’s designed for professional integrators, allowing them to turn their LG UHD displays into truly touch-responsive experiences, delivering reliable and superior commercial-grade products.

DISPLAX has a complete product range offer of both customizable and standard touchscreen solutions for different markets such as retail, hospitality, entertainment, transportation, health care, corporate, education and many others.

DISPLAX has a complete product range offer of both customizable and standard touchscreen solutions for different markets such as retail, hospitality, entertainment, transportation, health care, corporate, education and many others.

In showrooms, trade show and event contexts, multi-touch tables are becoming increasingly popular as an instrument to present companies and their products both innovatively and interactively. But you probably would like to get an overview of the typical multi-touch table price range first. What budget to you need to calculate for the purchase of the hardware?

A multi-touch table can be a rewarding acquisition, without any question. However, for you to be able to judge that, its costs – and whether those are in reasonable proportion to the desired effects – are indispensable key figures.

In all probability, your first online search has resulted in the following insight: the market is confusing, and definite information on prices of high-grade multi‑touch tables is not readily available online. In addition, the number of different technologies and configurations is seemingly endless. What’s more, the price range for the hardware is extremely wide and at first sight, between 1,000 € and 30,000 € anything seems possible. Of course, now you can contact each provider individually to inquire for an offer, or you can make an entertaining guessing game of your budget plan. The more reasonable approach, however, is to first define your requirements exactly and in your subsequent research focus on those criteria with a substantial impact on the price.

One obvious and sadly unalterable factor in that is the considerable increase in hardware prices since the onset of the Corona pandemic. Particularly PCs and multi-touch screens today are considerably more expensive than they used to be. The following price orientation already takes this development into account.

Of course, a 43’’ screen that allows only a maximum of 2 people to work simultaneously is cheaper than a 65’’ screen accommodating 4 and more users at the same time. 55’’ screens offer the optimal price-performance ratio (in terms of size in inches and pixel density). Currently the most affordable screens available on the market are made by Japanese company Iiyama – prices start at less than € 2.500 (before tax) for a basic Iiyama “ProLite Multi-Touch Display” 55’’ screen.

Here we could go on and on about the relation between a multi-touch table’s pixel density and its typical viewing distance, but we keep it short instead: Full HD monitors with a resolution of only 1,920 x 1,080 px are outdated and have been for a while now. The long and short of it is: the user sees the individual pixels. Therefore, you should concentrate your search on models with Ultra HD resolution (3,840 x 2,160 px)

The number of possible parallel touch inputs the “table-top” can recognize and process is a crucial quality factor. Budget models with particularly low-priced sensors (such as the Iiyama models) can recognize about 15 touch inputs at the same time. That may be enough for a basic application running on a relatively small screen, but for four pairs of hands or capacitive object recognition, it is not. High-end quality sensors like the ones formerly made by 3M recognize between 40 and 100 parallel touch inputs.

With multi-touch tables it’s the same as with any PC or Laptop – it’s all about speed and reliability. There’s no bigger obstacle to an immersive experience than a “jerky” display or an application that crashes. The PC should at least be equipped with an i5 processor with sufficient RAM, SSD hard drive, and dedicated graphics board. Particularly with mini-PCs integrated into the screen itself caution is in order, as those usually fail to meet these requirements.

It’s the corpus or the frame, respectively, that turn a multi-touch screen into a multi touch table and unite PC and screen into an integrated interactive terminal. In this context you should carefully weigh aesthetic and practical aspects: how exceptional and “beautiful” is the corpus supposed to look? And how mobile or transportable does it have to be at the same time? In any case, the table must be stable, durable, and without any visible cables. But keep in mind: design is more than just a “nice to have” – in the end, it is the looks that may attract many users. There is, however, a price tag on that, primarily depending on the materials used – common materials available on the market are metal, MDF, and Corian.

There are both budget “off-the-rack” multi-touch tables and pricey individualized (e. g. regarding form, color, various object recognition technologies) models. Depending on the technologies used, a table can offer its users additional modes of interaction that go beyond the usual manual touch inputs. Your minimum demand in terms of customization should be that the table blends in seamlessly with your corporate identity.

With the service aspect on the other hand, it is all about your comfort during planning and implementation and your satisfaction with the outcome. The decision depends on your own expertise in the matter: are you happy with taking over the hardware from the logistics company and assemble it yourself, or will you be needing professional on-site installation and training?

Of course, there are many more adjustment screws you can turn in terms of hardware costs (e.g., 24/7-certification, screen contrast and luminosity, quality of the surface glass), but for now these 6 criteria already will be useful in shrinking the immense price range to a manageable size for budget planning.

Prices for a professional multi-touch table suitable for use in trade fair or business contexts usually are between 17,000 € and 25,000 € (before taxes). Hardware like this is built for 24/7 operation, so no unpleasant surprises are to be expected. Multi-touch tables beyond this price are typically highly individualized special orders, and cheaper models are viable options only for semi-professional use with low user‑frequency.

By the way: the price range mentioned above does not yet include the multi-touch software! Looking for suppliers who offer all-in-one packages including hardware and software may therefore be worthwhile in order to optimize the overall price-performance ratio. For you to be able to better assess the different multi-touch software providers, we have summed up the crucial criteria in this checklist.

If you check the Chinese platform Alibaba.com, you will find multi-touch tables for 1,000 €, and at a purportedly “high quality”, too. However, in products like these only the cheapest of Full HD screens are used, which allegedly achieve a “4 carat (!) resolution” by means of interpolation. What sounds too good to be true unfortunately is: touch‑recognition in models such as these operates with an outdated infrared (IR) technology, and optically as well as technically speaking, the hardware seems to belong to another (long gone) era. If you want your business to make an innovative impression, you are well advised not to accept this offer.

Before you rush off into a challenging and probably overwhelming research, define your demands and specifications as exactly as possible. Be aware that the decision for the purchase of a multi-touch table is an important investment in the future. Its result is supposed to convey your Corporate Identity and be a cutting-edge and unique representative of your business. To be able to actually achieve this goal justifies the extra effort of seeking professional advice beforehand and also requires enough time for decision-making.

If you already consider this article helpful, you will be surprised at how much more useful you are going to find our personal and individual (and cost-free) consultation. We speak from our long experience, and we are happy to share it with you.

If you are currently planning a multi-touch table project, our Whitepaper “Multi-Touch Table – 8 steps toward a successful project” supports you in that endeavor. Useful checklists and instructions guide you through the process, starting with conceptualization over hardware and software selection to an intelligent Content Management.

The diversity in scale, media, and format of the seventy-some pieces in 30 Letters to Qiu Jiawa, (2009) and the five triptychs of Yang Jiechang"s Crying Landscapes (2002). Together, these works would announce to visitors to the Asian Wing that they were entering the world of contemporary China, where old and new often come together.

We had earlier placed panels above the skylight in this gallery to lower its light level in deference to the light sensitivity of the works on paper. But before we could install the paintings, the riggers—the Museum"s elite team for moving heavy objects—had to move stone sculptures weighing more than one ton in order to clear a wall for Qiu"s three hanging scrolls. Once the space was clear and the painters had come through to touch up the wall, metal shop specialists had to devise a way to suspend Yang Jiechang"s five triptychs from the skylight. It took more than a week to prepare the gallery and hang the two sets of scrolls, but the effect is breathtaking.

Asian Art technicians laid out the Crying Landscape (2002) triptychs as individual scrolls on paper sheets rolled out onto the floor in order to attach custom-made wooden bars for hanging.

The perpendicular arrangement of Yang Jiechang"s Crying Landscape (2002) to Qiu Zhijie"s 30 Letters to Qiu Jiawa (2009) provides an unobstructed view of the wall scrolls from the side.

Disparities between the measurements of works of art and the sizes of the frames around them have been a source of many challenges. The image size of a series of woodblock printed maps from Hong Hao"s Select Scriptures series (1992–2000) suggested that we could accommodate six prints in an existing case. But the size of the mats framing Hong Hao"s maps was too big, so our paper conservation team had to remove the six sheets and re-present them in three mats that each had double windows.

We weren"t so lucky with a Liu Dan preparatory sketch for his Ink Handscroll (1990). The artwork is 65 3/4 inches long, but the mat created for the piece by the artist measured 71 inches across—1 inch more than the wall-mounted Hahn case where I had planned to install it. The only alternative was to remove the case from the wall—for the first time in sixteen years—so that the Liu Dan could be displayed in its original frame.

Liu Dan"s monumental Ink Handscroll (1990) displayed alongside its detailed preparatory drawing, offering a glimpse into the artist"s creative process.

Another instance where the size of a work of art presented unusual challenges was the purple silicone rubber Scholar Rock (2008) by Zhang Jianjun. I wanted the piece to be displayed in the half pavilion of the Astor Chinese Garden Court, but hadn"t reckoned on it weighing 700 pounds. Nor did I realize that the silicone was too brittle to be handled or tilted! This meant that it would have to be kept level as it was moved into place. This required that two level platforms be built above the pavilion"s stone steps and the granite moon-viewing terrace, which would enable us to move the piece on a power jack. Because the piece and its base measure over seven feet in height, the ornamental latticework suspended from the crossbeam of the pavilion would have to be removed during the installation. What to do? Fortunately, two woodworking specialists from the Beijing Palace Museum were working on our Ming furniture as visiting fellows together with members of our Objects Conservation staff. Mr. Jiao and Mr. Zhao arrived with Met conservator Daniel Hausdorf and proceeded to show us how the latticework could easily be dismantled by simply removing two wood dowels. Most remarkable of all, in spite of all the effort expended to place this spectacular piece, no one ever suggested that I should find an easier place to display it.

Movers and Asian Art technicians tackle the challenging task of safely transporting Zhang Jianjun"s 700-pound, purple silicone Scholar Rock (2008) into the Astor Court pavilion.

Not all dimensions required us to make changes to our display cases. At one point, our Collections Manager Hwai-Ling Yeh-Lewis announced that if the frame for Shi Guorui"s 14-foot-long camera obscura image Shanghai, China, 15–16 October 2004 (2004) exceeded 2 inches in depth it might not fit into our display case without removing one of the case"s 900-pound glass doors. Happily, the print is mounted on a thin aluminum panel and was easily moved into place.

On the morning of November 19 the installation shifted into high gear with things happening in four exhibition galleries simultaneously. At 9:10 a.m., as we began unpacking Liu Dan"s Dictionary (1991), I found myself in the presence of 2 packers, 1 registrar, 1 paper conservator, 2 carpenters, 1 operations supervisor, 1 designer, 2 Asian Department art handlers, 2 Asian art assistant curators, 1 Asian art Collections Manager, and 1 Asian art department administrator—15 of us all playing a role in preparing the work for installation.

Meanwhile, in the adjacent gallery, 2 more Asian Department art handlers, 1 Asian art conservator, 2 couriers, and 3 lighting designers were working to light Xu Bing"s Book from the Sky (1987–91) using mockups of the 3 ceiling-hung scrolls.

In the end, it took us over a week to get the ceiling panels in place, set all of the books on the floor with uniform spacing around each volume, and light the entire ensemble properly. The result is an intimate immersive encounter with a sea of imaginary words—a virtual babel of illegible characters!

Before: Lighting specialists experimented with mock ceiling scrolls before hanging the printed originals that are an essential component in Xu Bing"s installation Book from the Sky (1987–91).

After: the completed site-specific reinstallation of Xu Bing"s Book from the Sky (1987–91), with a peek of Fang Lijun"s multi-panel woodblock print 2003.3.1(2003) in the Astor Forecourt.

Next to that gallery, a team of 7 riggers with a forklift and 2 pallet trucks were hard at work positioning 2 Ming stone lions by the moon gate entrance to the Astor Chinese Garden Court. The marble lions had been moved away from the moon gate during the time the Garden skylight was being replaced and they were now ready to be returned to their places. As the "lion tamers" did their work, I felt like the master of ceremonies in a three-ring circus, running back and forth to make sure that everything was progressing smoothly. So when someone from Digital Media came with two electricians to place a monitor, projector, and screen for our video installation, I wasn"t fazed a bit!

Museum riggers hard at work finalizing the position of one of the 2 Ming stone lions that flank the moon gate entrance to the Astor Chinese Garden Court. Photograph courtesy Jesse Robert Coffino

The merchandise under consideration is referred to as Touchscreen LCM Display Monitor Modules, PNs E205048, E186819, E205247, E187005, and E846974. The subject Touchscreen Display Monitors are described as LCD displays of varying screen sizes, each having a capacitive touch overlay, but are not imported with an attached bezel. Based on the information provided, the fully functional Touchscreen LCM Display Monitor Modules are principally used with automatic data processing (ADP) machines, such as the Elo X-Series Computer Module.

In your request you suggest that the subject Touchscreen Display Monitors are classified in subheading 8528.52.0000, Harmonized Tariff Schedule of the United States (HTSUS), as monitors, not incorporating television reception apparatus, and being capable of directly connecting to and designed for use with an ADP machine of heading 8471.  However, in their entirety, these touchscreen monitors are more specifically provided for elsewhere in the tariff.  Therefore, classification in subheading 8528.52.0000, HTSUS, is not applicable.

The General Rules of Interpretation (GRIs) to the HTSUS govern the classification of goods in the tariff schedule. GRI-1 states, in pertinent part, that "for legal purposes, classification shall be determined according to the terms of the headings and any relative section or chapter notes . . . ." And although not dispositive, the Explanatory Notes (ENs) to the Harmonized Commodity Description and Coding System represent the official interpretation of the tariff at the international level and facilitate classification under the HTSUS by offering guidance in understanding the scope of the headings and the GRIs.

As stated, the subject Touchscreen LCM Display Monitor Modules are designed to connect directly to an ADP machine for the purpose of performing input and output functions in an ADP system. The ENs describe an ADP system as consisting of a central processing unit, an input unit, and an output unit and states that an input unit and output unit can be combined into one single unit within the system.

We would note that in order to be classified in heading 8471, the merchandise must meet the terms of a unit of an ADP system as specified in Legal Note 5(C) of Chapter 84, HTSUS. In this regard, Note 5(C) to Chapter 84 defines the term “data processing units” for purposes of heading 8471 as follows:

Further to meeting the conditions of Note 5(C), the unit must not be excluded from any of the conditions provided for in Note 5(D) and Note 5(E) of Chapter 84, HTSUS. While monitors and projectors are excluded from classification in heading 8471, the subject Touchscreen LCM Display Monitor Modules are not merely a display monitor, but instead meet the conditions set forth in the legal notes for ADP systems by comprising two of the three components within the system, namely the input and the output. As the touchscreen and the LCD panel are permanently combined into a single unit, and the display unit is principally used within an ADP system for the purpose of performing a data processing function, the subject Touchscreen Display Monitors will be classified by name and in accordance with GRI-1 as a combined input output unit for ADP.

The applicable subheading for the Touchscreen LCM Display Monitor Modules, PNs E205048, E186819, E205247, E187005, and E846974 will be 8471.60.1050, HTSUS, which provides for “Automatic data processing machines and units thereof; Input or output units, whether or not containing storage units in the same housing: Combined input/output units: Other.” The general rate of duty will be Free.

Effective July 6, 2018, the Office of the United States Trade Representative (USTR) imposed an additional tariff on certain products of China classified in the subheadings enumerated in Section XXII, Chapter 99, Subchapter III U.S. Note 20(b), HTSUS. The USTR imposed additional tariffs, effective August 23, 2018, on products classified under the subheadings enumerated in Section XXII, Chapter 99, Subchapter III U.S. Note 20(d), HTSUS. Subsequently, the USTR imposed further tariffs, effective September 24, 2018, on products classified under the subheadings enumerated in Section XXII, Chapter 99, Subchapter III U.S. Note 20(f) and U.S. Note 20(g), HTSUS. For additional information, please see the relevant Federal Register notices dated June 20, 2018 (83 F.R. 28710), August 16, 2018 (83 F.R. 40823), and September 21, 2018 (83 F.R. 47974). Products of China that are provided for in subheading 9903.88.01, 9903.88.02, 9903.88.03, or 9903.88.04 and classified in one of the subheadings enumerated in U.S. Note 20(b), U.S. Note 20(d), U.S. Note 20(f) or U.S. Note 20(g) to subchapter III shall continue to be subject to antidumping, countervailing, or other duties, fees and charges that apply to such products, as well as to those imposed by the aforementioned Chapter 99 subheadings.

Products of China classified under subheading 8471.60.1050, HTSUS, unless specifically excluded, are subject to the additional 10 percent ad valorem rate of duty. At the time of importation, you must report the Chapter 99 subheading, i.e., 9903.88.03, in addition to subheading 8471.60.1050, HTSUS, listed above.

Duty rates are provided for your convenience and are subject to change. The text of the most recent HTSUS and the accompanying duty rates are provided on the World Wide Web at https://hts.usitc.gov/current.

A copy of the ruling or the control number indicated above should be provided with the entry documents filed at the time this merchandise is imported. If you have any questions regarding the ruling, contact National Import Specialist Karl Moosbrugger at [email protected]