To Puxian Wang:

The museum’s decolonized curatorial strategy reminds me of another possibility of decentralized curation: If its curatorial strategy is to break the Western-dominated framework of art history, does it mean that it is building another kind of new center? Is the inclusion of art from the Global South in the curatorial framework a genuine exercise in affirmative action or a recompilation of knowledge? As “decolonization” becomes the dominant discourse, are curators also unconsciously creating new norms?
Finally, the museum’s direct engagement with social issues, as well as its exploration of digital curation, show that it is constantly expanding the function of the museum. This makes me wonder, as curation expands from physical space to cyberspace and as the role of curators becomes more and more like sociologists, activists, programmers, and even AI system designers, has curation itself become a contemporary art form? If so, should curation be redefined?

To Aobing Wang:

This text shows clear discussion ideas and rich expression of curatorial issues, especially in curatorial ethics and formal innovation. You accurately summarize Martinon and Reilly’s core ideas, especially the metaphor of “cultural midwifery” and the concept of “curatorial activism,” providing a solid theoretical background for the discussion. By exploring the seemingly opposite “openness” and “transformative” of the two, the ethical dilemma of curatorial work is deeply analyzed. This kind of summary shows a deep understanding of the topic of the exhibition, and it will be more comprehensive if you can add how to reconcile these two positions in the discussion. The Accessibility & Openness you proposed, especially the idea of “multi-sensory and digital accessibility strategy,” is in line with the inclusiveness issue in contemporary curatorial exhibitions. You can try to further explore how to put it into practice, such as the use of visual, auditory, and other multi-dimensional AIDS. The innovative design of nonlinear narrative and “kaleidoscope” exhibition form also shows a high degree of participation and freedom, but further consideration can be given to how to balance the coherence of exhibition narrative and avoid the sense of fragmentation of audience experience. The rule that panelists contribute only one idea is a good example of the concept of curatorial democratic collaboration, but it can also complement how to deepen the discussion and integrate multiple perspectives through follow-up sessions. Genuineness as a curatorial concept is also very valuable. If we can discuss how to embody “sincerity” in the interaction between the exhibition content and the audience, the curatorial theme will be more distinct. In addition, although the plan is creative, the expression “not perfect enough” is slightly general. If the next discussion direction can be listed and a clearer improvement plan can be presented, it will inject stronger feasibility and prospect into the curatorial form.