In addition to exhibits principally directed to the history of computing, the Museum re-opened in 1984 with a 4,000-square-foot gallery on digital image processing and computer graphics, entitled The Computer and the Image.
 The exhibits addressed the history of the field, the basic principles of digital image processing and image synthesis, and applications of the technologies.
 The exhibition featured historical artifacts, explanatory text and images, interactive exhibits, and a computer animation theater.
 Many of the exhibits were developed with the help of university and corporate research labs.
 The exhibition was developed under the direction of Oliver Strimpel with Geoff Dutton.

Digital image processing  The gallery included the history, technology and applications of digital image processing.
Possibly the first-ever digital image was acquired from Jet Propulsion Labs, consisting of hand-assembled colored strips of line-printer output from the Mariner 4 Mars probe (1965).

Static exhibits included a display of early computer graphic input and output devices, examples of digital typography, and a holographic animation of U.S. demographic evolution.

Computer graphics  Static exhibits included a display of early computer graphic input and output devices, examples of digital typography, the holographic animation American Graph Fleeting and A Visualizer's Bestiary, a tableau of real-world objects that have vexed programmers' attempts to render them realistically.
 Dynamic exhibits included: A Window full of Polygons depicting the view of downtown Boston that visitors see from the gallery on a large pen-plotter that renders the buildings' silhouettes with changing colors and patterns; an interactive Koch snowflake fractal generator; and the first computer game SPACEWAR!
running on a PDP-1 and (more reliably) on a PC.

Realistic image synthesis  Synthetic lighting and shading algorithms for models of three-dimensional objects have classically been tested by rendering of a teapot.
 In the early 1970s, Martin Newell, working at The University of Utah, decided to use his teapot as an object with which to test various modeling, lighting and shading techniques.
 In the summer of 1982, at the 1982 ACM SIGGRAPH conference,  Martin Newell donated his original teapot to Oliver Strimpel, wryly noting the symbolism of one Englishman giving another Englishman a teapot to be preserved and displayed a stone's throw from the site of the Boston Tea Party revolt of 1773.
 The exhibit  displayed Allan Newell's original ceramic teapot alongside an Adage frame buffer display of a Bézier model of it, both responding interactively to changes in lighting selected by museum visitors with switches.

Computer animation  An animation theater performed a program of pioneering computer-animated shorts, including several from Pixar, such as Luxo Jr.
In addition to exhibits principally directed to the history of computing, the Museum re-opened in 1984 with a 4,000-square-foot gallery on digital image processing and computer graphics, entitled The Computer and the Image.  The exhibits addressed the history of the field, the basic principles of digital image processing and image synthesis, and applications of the technologies.  The exhibition featured historical artifacts, explanatory text and images, interactive exhibits, and a computer animation theater.  Many of the exhibits were developed with the help of university and corporate research labs.  The exhibition was developed under the direction of Oliver Strimpel with Geoff Dutton.
Digital image processing  The gallery included the history, technology and applications of digital image processing. Possibly the first-ever digital image was acquired from Jet Propulsion Labs, consisting of hand-assembled colored strips of line-printer output from the Mariner 4 Mars probe (1965).
Static exhibits included a display of early computer graphic input and output devices, examples of digital typography, and a holographic animation of U.S. demographic evolution.
Computer graphics  Static exhibits included a display of early computer graphic input and output devices, examples of digital typography, the holographic animation American Graph Fleeting and A Visualizer's Bestiary, a tableau of real-world objects that have vexed programmers' attempts to render them realistically.  Dynamic exhibits included: A Window full of Polygons depicting the view of downtown Boston that visitors see from the gallery on a large pen-plotter that renders the buildings' silhouettes with changing colors and patterns; an interactive Koch snowflake fractal generator; and the first computer game SPACEWAR! running on a PDP-1 and (more reliably) on a PC.
Realistic image synthesis  Synthetic lighting and shading algorithms for models of three-dimensional objects have classically been tested by rendering of a teapot.  In the early 1970s, Martin Newell, working at The University of Utah, decided to use his teapot as an object with which to test various modeling, lighting and shading techniques.  In the summer of 1982, at the 1982 ACM SIGGRAPH conference,  Martin Newell donated his original teapot to Oliver Strimpel, wryly noting the symbolism of one Englishman giving another Englishman a teapot to be preserved and displayed a stone's throw from the site of the Boston Tea Party revolt of 1773.  The exhibit  displayed Allan Newell's original ceramic teapot alongside an Adage frame buffer display of a Bézier model of it, both responding interactively to changes in lighting selected by museum visitors with switches.
Computer animation  An animation theater performed a program of pioneering computer-animated shorts, including several from Pixar, such as Luxo Jr.
The Computer Museum, Boston