“No artwork is fixed: its meaning is always malleable and susceptible to a whole range of influences. Of all the factors that shape our reactions to art, one of the most powerful is the hand of the curator. Yet curators are an invisible species – few of us witness their decision-making or know why they made certain choices or put this next to that … Some shows are still conceived as a fixed argument – think of Damien Hirst’s flattering appraisal currently at Tate Modern – but for emerging curators instability is the key” (Griselda Murray Brown in the Financial Times, 25 August 2012)
