Purpose – Recognising the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research generates a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience.

Design/methodology/approach –This research employs a single case study design of Miró’s blockbuster exhibition and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records.

Findings – An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and of personal versus communal interpretations – amongst other features - in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital.

Research limitations/implications – The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences.

Practical implications – The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences.

Originality/value – The research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.