with the narrative around the object impacting the material conditions of its appearance.
7 Of course, Duchamp was not alone in doing this, movements such as Dadaism and Surrealism, with which Duchamp was loosely related, and the Soviet avantgarde were all, one way or another suggesting it.
8 The Curator as Producer was also the title of the Manifesta 10 Journal in 2010.
9 Here there is no space to discuss how this shift got institutionally legitimized, especially though the biennial system; for an excellent discussion on the topic, see O’Neill (2016).
10 This can be expressed by curators often switching to other professional titles, such as “art directors”.
References
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Homo Curatorius