Abstract
Since the early 2000s, the critical literature devoted to the exhibition has developed considerably, and several books have ushered in a wholesome labour of historicization, the best known example probably being the portrait gallery produced by Hans Ulrich Obrist, A Brief History of Curating (2008), while, in 2010, his colleague Jens Hoffmann launched The Exhibitionist, a theoretical review devoted to the art of the exhibition, focusing on a defence of curating as a fully-fledged authorial ac...
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