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«The system of an exhibition organizes its representations to best utilize everything, from its architecture which is always political, to its wall colorings which are always psychologically meaningful, to its labels which are always didactic (even, or specially, in their silence), to its artistic exclusions which are always powerfully ideological and structural in their limited admissions, to its lightning which is always dramatic (…) to its curatorial premises which are always professionally dogmatic, to its brochures and catalogues and videos which are always literacy-specific and pedagogical directional, to its aesthetics which are always historically specific to that site of presentation rather than to individual artwork’s moments of production. In other words, there is a plan to all exhibitions, a will, or teleological hierarchy of significances, which is its dynamic undercurrent» (Bruce Ferguson, 1996).
Ambas as citações foram retiradas da tese de Raquel Pereira, Curadoria de exposições de arte contemporânea em contexto museológico no século XX - O Museu da Fundação de Serralves, FCSH-UNL, 2013 - disponível online.