In the context of tourist attractions, cultural heritage organizations such as museums need to innovate their services to remain competitive. Most of them are re-inventing the museum experience to broaden their attractiveness (e.g., Batat, 2020). Information and communication technologies are adopted to enhance the customer experience (e.g., Neuhofer et al., 2014) before, during, and after the visit (Shaw and Ivens, 2002). In addition to computers, tablets, interactive websites, social media, smartphones, and mobile applications, augmented reality, virtual reality, and mixed reality are applications widely used to make museums more attractive (e.g., Errichiello et al., 2019; Roederer et al., 2020; Wu et al., 2021; Bird et al., 2022; Trunfio et al., 2022). Also, multimedia technologies are developing in museums. Notably, museum exhibitions (e.g., Capuano et al., 2016) have begun to use both audio-visual and interactive technology (e.g., touch screen experience, virtual reality technology, and interactive display) to enhance the visitors’ experience (e.g., Batat, 2020; Luo, 2020). Immersive multimedia exhibitions are a specific type of museum exhibition that aims to enhance the interactive experience of the audience to disseminate knowledge and culture. More precisely, these exhibitions are based on video mapping and its various declinations: digital images, light effects, and soundtracks are designed ad hoc to be projected and spread in a physical space where the visitor moves. Some exhibitions revolve around individual artists, such as Imagine van Gogh, which was first held in Paris in 2017, and later in Canada, the USA, South America, and Europe. In this case, the artist's most famous artworks are projected in huge halls, in motion, and accompanied by the music of influential composers such as Mozart and Bach. Other immersive exhibitions use Digital Art to allow visitors to interact with digital installations in real-time. In this case, visitors look at more than just the artworks in the museum but create new ones during each visit. One example is Future World, a permanent exhibition at the ArtScience Museum in Singapore, where immersive and incredibly interactive installations react to the presence or touch of visitors, who enjoy admiring, touching, or drawing depending on the rooms visited. These exhibitions provide unique and memorable experiences for their visitors. However, not all customers can enjoy them. Mainly, some kinds of immersive experiences are not accessible to disabled people because the space, installations, and the employed technology do not meet their specific needs. In such circumstances, the adopted technology does not marry the criteria of inclusiveness of marginalized and disabled communities, opening a new debate about the role that the latest technologies should provide in developing inclusive and equitable experiences. Accordingly, based on individual impairments, disabled people cannot fully enjoy their visit to immersive multimedia exhibitions. Previous studies that have so far examined the accessibility and inclusion of disabled people in museums are very few. For example, Vaz (2020) proposed a framework that combines sensory, intellectual, and physical access into the pre-visit, on-site visit, and post-visit phases of interaction with cultural institutions to promote a sense of autonomy across these people. Furthermore, scholars and practitioners should pay more attention to the role of technology (e.g., Freeman et al., 2016) and, even more, to the adoption of immersive technologies in this research field. In this last regard, Loureiro and colleagues (2019) argued the importance of reducing the negative impacts of tourism using immersive technologies by investing in alternative accessible experiences such as virtual museum experiences. Accordingly, as Devile and Kastenholz (2018) claimed, more inclusive approaches to museums can be provided to promote individual and social well-being. Indeed, the International Council of Museums (ICOM) establishes that museums invest in safeguarding and communicating their collections to the audience and performing social functions that are the core of their existence. Therefore, further theoretical and empirical research is needed about issues related to inclusiveness and accessibility, which can concern millions of people worldwide because of temporary or permanent impairments during their lifetime. Considering these research gaps, this study focuses on the following research question: How can technology foster inclusiveness and accessibility of disabled people in immersive multimedia exhibitions? This study aims to answer this question by exploring a case study engaged in good practice in Italy. Notably, it aims to examine opportunities and barriers to inclusiveness and accessibility emerging from (desire to) attend an immersive multimedia exhibition. In terms of data collection, we will interview museum managers to explore these specific aspects and propose solutions devoted to more inclusiveness and accessibility that could serve as a starting point for designing future immersive multimedia exhibitions. The results of this research have theoretical, managerial, and social implications that are included in the perspective of Society 5.0 development.