When the UNESCO ‘Convention Concerning the Protection of the World Cultural and Natural Heritage’ was enacted in 1972, cultural heritage was only understood as a tangible thing. In 2003, ‘the Convention for the Safeguarding of Intangible Cultural Heritage’ was adopted, and the concept of cultural heritage was redefined by considering intangible aspects as well. At that time, museum community also began to be interested in intangible cultural heritage, and various discussions continued at the 2004 ‘Seoul ICOM General Conference’ under the theme of ‘Museum and Intangible Heritage’. Despite the 2004 Seoul ICOM General Conference, domestic museum exhibitions have not actively dealt with intangible cultural heritage for the past decades. Of course, it requires a lot of imagination and technical help to show the intangible heritage to museum visitors. Furthermore, it would not have been easy in reality for museums, which have tended to focus on the collection, research, and utilization of material culture, to try new changes and experiments through the exhibition of intangible heritage. This study stems from interest as a curator about the direction of the exhibition of intangible cultural heritage and attempts an analysis using this exhibition on craftsmen who are the subjects of traditional craft technology transmission as a case intended to examine the attributes and planning directions of the exhibition of intangible cultural heritage academically. The exhibition was planned based on the life history and traditional knowledge of the masters of traditional craftsmanship in Jeollabukdo: Seonjajang (Fan Making), Piljang (Brush Making), Akgijang (Musical Instrument Making), Jasujang (Embroidery) and straw craftsmen. The exhibition was intended to meaningfully explain the context of the traditional knowledge possessed by each craftsman, and during the exhibition planning process, it continued to cooperate with craftsmen in each field and prepared the exhibition together as a co-planner. Finally, this study examines the way in which the life history and traditional knowledge of intangible cultural heritage holders are realized in the exhibition hall, and suggests the direction of intangible cultural heritage exhibition.