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Contemporary curators orbit in the place of distribution and consumption, and less and less in the space of artists. I think it has become a lazy profession in regard to its relationship to the artists and the vigorous state of art making.

You get to a point where you really can't manage more artists, because representing artists takes a lot of time.

I see a curator as a catalyst, generator and motivator - a sparring partner, accompanying the artist while they build a show, and a bridge builder, creating a bridge to the public.

When I've worked with established artists, I've naturally been more restricted, but you still have to take risks and push yourself to do something different.

At a certain time, an artist needs a big retrospective. At other times, they need a more focused exhibition. It's a different story each time; it's about establishing a dialogue.

When I started writing about art, there were no curators.

All the traditional models for doing things are collapsing; from music to publishing to film, and it's a wide open door for people who are creative to do what they need to do without having institutions block their art.

The privilege I've had as a curator is not just the discovery of new works... but what I've discovered about myself and what I can offer in the space of an exhibition - to talk about beauty, to talk about power, to talk about ourselves, and to talk and speak to each other.

Many of the museum directors who make an impact personally curate exhibitions.