Is the textual production of the curator in the catalogue essay or wall text tantamount to the voice of history or criticism? I refer to "pre-curatorial" critical discourse, when the artist's work, theory, and history were the main subjects, not the vision or execution of the curator as "globally-connected auteur." O'Neill's book  nicely charts the historical contingents of this notion of the "demystified" curator, one that arose in the late 1960s and then blossomed in the biennial fever of the 1990s. He identifies the post-Szeemann phenomenon of "curated by" exhibition-making and highlights the reign of curator-centered discourse. Seemingly stuck in a "curatorial moment" that has now passed, O'Neill's balanced text still does a great service by doing as much to challenge this notion as he does to historically re-construct it.



AuthorMike Pepi