This paper analyses the co-curatorial role in iNgqikithi yokuPhica/Weaving Meanings: Telephone Wire Art from South Africa, an exhibition launched at the Museum of International Folk Art (MOIFA) in Santa Fe in November 2024. It examines how collaborative, dialogical, and multidisciplinary approaches foster engagement in exhibition design, focusing on South African telephone wire art from KwaMashu and Siyanda. The exhibition exemplifies New Museology by embracing collaborative curation and shifting authority to community participation. Its narrative is deeply rooted in Siyanda’s artistic legacy, tracing the evolution of telephone wire art from traditional forms to contemporary creations such as izimbenge (wire baskets). New Museology and the Ecomuseum model serve as foundational theoretical frameworks, emphasising shared authority and community empowerment. A multimodal, participatory research methodology—including auto-ethnographic reflection, observation, interviews, and documentary analysis—underpinned the curatorial approach, reinforced by ongoing community consultation and rigorous ethical considerations. A central aspect of the exhibition is its innovative use of "museum atmospherics”. The physical environment was meticulously designed, directly influenced by the artworks, to create an immersive visitor experience. Key zones—such as isibaya (honoring elders), iNingizimu Afrika Entsha (reflecting post-apartheid identity), and "Making Hard-Wire and Soft-Wire" (featuring interactive and tactile elements)—alongside augmented reality integration, significantly enhanced visitor engagement. The paper evaluates the exhibition's impact, highlighting MOIFA’s cultural sensitivity in applying the Ecomuseum paradigm. Ultimately, this exhibition stands as a significant model for future inclusive initiatives, demonstrating how community engagement projects can inspire culturally sensitive museum practices in South Africa and prompt a rethinking of the museum's public role. MOIFA's ongoing plans to expand its documentary's international reach and develop educational components for South African schools further reinforce this claim, illustrating how exhibition design and artifacts can effectively educate and build communities.