A Thought Never Unfolds in One Straight Line

Whether we conceive of exhibitions as narratological spaces with grammar and syntax,[1] or as intellectual working spaces,[2] the fact is that our understanding of exhibitions has shifted from static, temporary constellations of art objects gathered in a dedicated space, to performative sites where the art objects become agents, interacting among themselves, with their audiences, and with the various discursive contexts that are implicitly or explicitly present or presented. Furthermore, exhibitions are increasingly understood as sites for knowledge production, for research, and as having their own discursive agency. They are not merely the outcome of a curatorial research done by a dedicated expert, but in and of themselves sites where various modes of research and various modes of thinking are enacted. Much like we can think about, with, and through art, we can think about, with, and through exhibitions. In tandem with this new understanding of exhibitions, or rather of its ontological potential, the idea of the curatorial as a new epistemological paradigm is rapidly taking hold.