This thesis focuses on the interaction between cinema and the gallery, delving into exhibited cinema in gallery space and the transformative effects it has on the cinematic experience. By looking into Turkish moving image artists’ factors behind choosing the gallery as the exhibition venue for their moving image work, this study aims to comprehend the distinct qualities and attributes of exhibited cinema as a cinematic dispositif. Drawing upon the theoretical framework of cinema dispositif (Baudry, 1975), the migration of moving images from traditional cinematic domains to gallery space, offering a setting for the production of innovative visual experiences, is investigated. Specifically focusing on the practices of six contemporary Turkish moving image artists who push the boundaries of conventional cinematic expression and adapt to the different institutional contexts of cinema and the gallery. Through a comprehensive examination of the evolutionary development of exhibited cinema, this study investigates the key aspects of the dispositif as it extends into the realm of the gallery. It explores the components of image, narrative, medium, and environment within the context of exhibited cinema, proposing a contemporary conceptualization of the cinematic dispositif in gallery settings. To gather insights and experiences, semi-structured interviews are conducted with six Turkish moving image artists. Based on the findings and discussions derived from the interviews, this thesis presents an analysis of the multi-dimensional practice of exhibited cinema by Turkish moving image artists. By considering their perspectives, Façades of Exhibited Cinema aims to shed light on the exhibition space as a cinematic dispositif within the Turkish moving image context.