Scanning Authenticity: On the Limits of 3D Representation in Museums

Abstract. The integration of 3D technologies into museum digitization practices offers new ways to visualize and explore cultural heritage objects. However, translating physical artefacts into digital models raises critical questions about what is captured, how, and why. This paper investigates how features associated with authenticity—such as traces of use, damage, and material ageing—are identified and represented in 3D digitization workflows. Drawing on case studies from Culture Heritage Institutions, the analysis focuses on the tension between what is technically possible during data acquisition (e.g., geometry, colour, surface detail) and what museums define as authenticity-relevant features. It also considers the extent to which these decisions lie in the domain of technical data versus interpretation and documentation. The paper argues that authenticity is not a static property of the object, but a relational concept shaped by institutional priorities, available technologies, and curatorial intent. A typology of representational strategies is discussed, along with reflections on the limitations and performance of digital reproduction. Ultimately, the paper calls for greater transparency and critical reflection in the production of 3D models, particularly when they serve as scholarly or public proxies for original artefacts. Using the example of the Greek funerary reliefs in the Collection of Classical Antiquities of the Berlin State Museums, we will discuss in detail the implications of these observations for the negotiation process between museum and data producer and user.