在當今全球化的環境中，距離越來越短、差異越來越小，博物館應該負起更大的責任，扮演好自己的角色，成為展現與當地的人與自然有關的物件、思想和成就的地方。博物館必須成為大眾信賴、提供價值觀和信仰的知識殿堂；為了達成這個目標，必須採取循序漸進的作法，在環境、科學、科技、藝術以及固有思想系統各方面，都呈現出廣袤的世界觀，其中包括個人和群體的觀點，以及各種生活方式。 隨著社會邁向 21 世紀第二個 10 年之際，博物館必須提供符合當代重要議題的展覽和活動，更貼近社會大眾。其中一個重要的面向，就是博物館應該將保護公共遺產的責任，視為創造和展現的過程，並藉此確保大眾在生活、空間、時間和情感上的延續性。博物館人必須清楚地認識到，公共遺產可以維繫人與他人和自然間更緊密而和諧的關係，因此遺產的保存工作絕不是濫情的口號，而是博物館人實實在在的責任。不論在概念還是行動上，遺產的保存工作對博物館而言都應該是超越經濟算計和政治權謀的道德責任。 本文著眼於博物館在社會和文化中扮演的雙重角色，從標準化的實務工作出發，探討認證的實際過程。文中提到兩種認證模式，主要用來說明美國博物館協會（AAM）在整個過程中所關注的重點。 本文雖然提出了認證的過程，但也說明了沒有一體適用的標準化程序。作者也希望藉此提醒大家注意，認證不僅能讓一個機構的公信力得到正式的認可，更重要的是在認證期間，每一個博物館在經過教育、資訊交換和自我改進等過程之後，其專業水準在無形中也將大幅提昇。

The role of museums in today’s constricting global environment, and their larger and more expansive responsibility as places of people and nature is defined by the related objects, ideas, and achievements. Museums must be trusted places of knowledge with the values and beliefs that include a progressive approach toward the environment, the sciences, t e c h n o l o g y, and the arts, as well as the inherent system of ideas that define an inclusive vision of the world, personal and group perceptions, and ways of life. As society moves into the second decade of the 21s t century, museums must become more relevant to the public by providing exhibitions and programs that deal with the important issues of the time. One of the extraordinary aspects of museums is their collective responsibility for preserving heritage as a process of creation and presentation that ensures the continuity between life, space, time, and emotion. Because heritage assists people to define and project harmonious relationships with other humans and with nature, the process of preservation of heritage is not an idyllic notion. It is a reality of museological responsibility. The concept, as well as the act, of preserving heritage, is more than economic or political expediency, it is an ethical obligation. This paper looks at the social and cultural role of museums from the perspective of standardized practices as exemplified by accreditation. Two examples of accreditation methodologies are provided with primary attention given to the process developed by the American Association of Museums (AAM). The paper defines the accreditation process, but states that no standardization process is ideal for all museums. It also calls to attention that accreditation is not simply an institutional validating program, but one that serves the broader interests of the museum profession through education, information exchange, and self-improvement.