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This article examines the integration of media art into the activities of a traditional museum amidst the ongoing transformation of the cultural field. With the development of digital technologies, the emergence of new artistic practices, and the growing role of immersive experiences, traditional museums are forced to rethink their approaches to exhibiting and collecting. Using the practices of The Pushkin State Museum of Fine Arts as a case study, this article examines a model of working with media art as a separate area of museum activity in this new environment and aims to structure and analyze this experience for the possibility to implement it in the activities of other organizations interested in communicating with audiences through cultural projects and promoting cultural heritage. The article emphasizes strategic principles of this work: dialogue and a transhistorical approach, which enable the construction of meaningful connections between cultural heritage and contemporary art. This approach makes it possible to keep museum collections current, attract new audiences, and expand the formats of interaction with art. The article analyses the museum's key projects integrating media art into its exhibition space and event activities (including House of Impressions (2016–2017), Man as a Bird. Images of Journeys (2017), Bill Viola. The Journey of the Soul, and Media Windows (2022–2025)). Individual attention is paid to the development of a media art collection and the implementation of a regulatory documents, which has become a key step in the institutionalization of this field in the museum practice in Russia (in particular, the Regulations for the Acceptance for Permanent Use, Storage, Registration, and Description of Museum Objects Related to the Film, Media, and Digital Art Collection of The Pushkin State Museum of Fine Arts). Thanks to its methodical work with media art, The Pushkin State Museum of Fine Arts expands its traditional functions and strengthens its role as an institution open to experimentation, dialogue with contemporaneity, and the use of new technologies in interpreting cultural heritage. Thus, the museum's experience demonstrates a potential for successfully integrating media art into the context of a traditional museum and offers a model applicable to other cultural institutions interested in incorporating new media into a traditional context and popularizing heritage through contemporary forms.