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This research aims at proving that 1912 - Mission Moderne, an example of contemporary art exhibiting practice, has succeeded in reviving Walter Benjamin's notion of aura, and furthermore detailing what measurement it has taken to attain that. First, a background of the exhibition along with the original Sonderbund exhibition in 1912 is laid out. Then, Benjamin's discourse on aura and the decomposition of it is provided in a three-fold fashion that includes its authority, authenticity and unattainability, followed by possible ways to restore a sense of aura. These arguments are supported by 'The Work of Art in the Age of Mechanical Reproduction', 'The Storyteller: Reflections on the Works of Nikolai Leskov', 'On Some Motifs in Baudelaire' and secondary literature. Consequently, such arguments are taken to case study, where curatorial methodology of 1912 - Mission Moderne is examined and elaborated to suffice achievement in the reviving of aura in accordance with theories stated in the previous chapter. Finally, it is concluded that by efforts and planning on curatorship, installation the works of art and attention to involve an active spectatorship, which are coherent to the re-construction of authority, authenticity and unattainability of aura, respectively, the reviving of aura can been affirmed. What is more, this process also serves as an example of a contemporary emancipation of art that, via modality of mutual participation from the museum and the audience, doesn't come at the stake of losing aura.