In class, we were asked to analyze curatorial platforms and think about how they fit into Terry Smith’s VAEC framework. At first, it seemed simple—just research how they work, who they serve, and what curatorial methods they use. But as I looked deeper, I realized the question wasn’t just about what these spaces do, but about whether they are truly outside the big institutional structures of the art world—or just working within them in a different way.
Take Fruitmarket Gallery in Edinburgh. It’s an independent space, meaning it doesn’t have a permanent collection like a museum. Instead, it focuses on temporary exhibitions, events, and publications, allowing for more flexible and experimental programming. This is different from traditional museums, where value is often defined by what gets collected and preserved. Fruitmarket, in contrast, values engagement and participation, making art something to experience rather than just observe.
At first, this seems like a clear break from the hierarchical museum model that Smith critiques. But is it really? Fruitmarket still receives public funding, works with international art networks, and participates in academic discourse. It may not collect art, but it still operates within the larger art system. This made me wonder: Can a space like Fruitmarket ever be fully independent, or is it just reshaping the system from within?

Maybe the real question isn’t whether spaces like Fruitmarket are inside or outside the VAEC. Instead, it’s about how they work within the system while still challenging it. Rather than completely rejecting institutions, contemporary curating seems more focused on finding new ways to show and engage with art—pushing the limits of traditional models while still operating within them.

I visited OCAT Shenzhen (OCT Centre for Contemporary Art), a Chinese curatorial institution similar to Fruitmarket, which focuses on temporary exhibitions, research-based curation and new media art, rather than traditional museum-style collections. The audience does not just watch, but is part of the interaction and reflection.
Similar to Fruitmarket, OCAT’s exhibitions are based on current discussions rather than historical collections, which is in line with the new curatorial model proposed by Terry Smith’s ‘Visiting Art Exhibition Complex (VAEC)’. However, the difference is that Fruitmarket emphasises public and community participation, while OCAT, although independently operated, is still part of the OCT Group, with a certain corporate institutional background. This made me think: can a curatorial space be truly independent? Perhaps contemporary curation is not completely separate from the system.
Week 02 Reflections on curatorial content in class / Ruiqi Wang / Curating (2024-2025)[SEM2] by is licensed under a