Abstract
Drawing on Hans-Jörg Rheinbergers “Epistemologica”, it is argued that museum objects of cultural history are not only created through collecting, but also through naming practices, classifications, and operations of order. Their status as documents or emissaries is relative, rather than fixed on attributes of museum objects. The heuristic concept is intended to recognize and reflect such museum objects in light of their genesis of fabrication and preparation. This includes objects of natural and cultural sciences, which share some techniques of depositing, preserving and visualization. Differences and disciplinary specificities are not excluded, but the argument is stressed, that the museum object of cultural history is a product of practices.