Reflections on Wellcome Collection exhibitions: 1880 THAT and Finger Talk

1880 THAT begins with the idea of “language as a home” – an essential place of belonging. I had never thought of language in spatial terms until I started learning British Sign Language. But unlike spoken language, signed language inherently requires physical space. I had also come to learn about “signing spaces” recently, and this exhibition offered another angle and meaning.

The title 1880 THAT refers to the Second International Congress on Education of the Deaf, held in Milan in 1880. Predominantly attended by hearing people, the congress decided that oral education should replace sign language. This led to widespread suppression of signing and the marginalisation of Deaf people globally. The exhibition critiques this policymaking—systems imposed on the Deaf community by the hearing—by using humour to draw attention to the long-lasting consequences of these policies.

One of the most striking moments in the exhibition is a giant, inflatable red arm titled Attention. One of the first things I learned in BSL is how to get a Deaf person’s attention—typically a downward wave or a gentle tap within their field of vision. In the artwork, the large hand waves slowly beside a white wall. When you step closer, you notice the wall behind it is eroded, symbolising the toll of repeatedly advocating for Deaf rights, recognition, and access. The arm periodically deflates, capturing the fatigue that can come from this continuous effort. Significantly, the hand is facing Parliament—directed toward future policymakers.

Finger Talk invites visitors to step out of a hearing-centred world and into a space shaped by deaf perspectives. Hearing test data donated by Deaf individuals are transformed into animated visuals, which are layered with contemporary graphic elements, archival footage from the British Deaf Association, and the Wellcome Collection. Additionally, a soundtrack was developed in collaboration with Deaf and disabled musicians. Part of the animation includes a projection of three people performing a Visual Vernacular piece. I was pleased to see Woojer Vests available to wear during the film, offering a tactile dimension that made the experience more inclusive and immersive. I particularly enjoyed the backdrop of archival BSL (British Sign Language) alphabet pictures, which provided insight into how the language has evolved. This raised my appreciation for the rich history of British Sign Language.

Both exhibitions powerfully centre Deaf voices and experiences, reminding visitors that language, culture, and communication are deeply political. 1880 THAT challenges us to reflect on how systems of exclusion were—and still are—constructed, while Finger Talk celebrates the beauty, richness, and resilience of Deaf language and culture.

If you’re in London, I highly recommend visiting both while they’re on. They are free and available to visit until autumn.

Click to visit Wellcome Collection website to find out more.