1930年，日本殖民政府於台北縣新莊設立了樂生療養院，上千名痲瘋病患被迫在此隔離。2002年因捷運工程而要拆除樂生療養院，引發了一連串的守護家園運動。2007年底，樂生博物故事館開館，弱勢族群獲得了挑戰權威與歧視的發聲空間。 本文旨在探討樂生博物故事館的展示建構，並藉由兩個相關展覽之分析，討論博物館再現身心障礙之意義、策略與相關的倫理議題。首先，北美館的「停格的歲月─痲瘋村紀事」展覽中，攝影作品聚焦在院民異於常人的肢體，雖然成功地吸引觀眾目光，但也使院民成為美學欣賞與觀看的客體。相較而言，樂生博物故事館以院民及保存運動為敘事主體，在歷史脈絡中展示各種物件與影像，部分院民也參與規劃及導覽，使觀眾較能貼近其生活與詮釋脈絡。本文強調，作為批判性社會教育的場域，樂生博物故事館展示應擴大院民之參與和詮釋，以積極挑戰社會的偏見與歧視。

In 1930, the Losheng Sanatorium was established in Taipei County, Taiwan, by the Japanese colonial regime to confine and treat patients with leprosy. More than a thousand people were eventually segregated there. In 2002 however, the sanatorium was chosen as the location for the construction of a new maintenance depot for the Taipei metro, a decision which led to calls for the site to be preserved. In 2007, the Losheng Story Museum was opened in the sanatorium. Residents are empowered to participate in the making of exhibition and share their experiences. The paper aims at analyzing the making of the exhibition of the Losheng Story Museum and discussing the meanings, strategies and ethic conflicts of representing disability by two exhibitions. The museum’s旧approach to interpretation - one that draws on and contextualizes residents’ perspectives on their own experiences - is compared to that employed in an earlier photographic exhibition that documented life at the institution and which was displayed in a fine art museum setting to explore the ethical issues bound up in attempts to represent disability in the public sphere. As a site for critical education, it suggests that the museum should empower more residents to participate to challenge the social prejudices.