#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#54: What about disabled artists?|#26: More artists, less borders.|#91: Embrace doubt.|#81: Things come alive when there is friction.|#94: No objections? Just do it.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#59: Always protect the floor when painting (or pouring concrete)|#6: Demand that visitors are active.|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#44: No name tags at dinner.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#54: What about disabled artists?|#26: More artists, less borders.|#91: Embrace doubt.|#81: Things come alive when there is friction.|#94: No objections? Just do it.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#59: Always protect the floor when painting (or pouring concrete)|#6: Demand that visitors are active.|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#44: No name tags at dinner.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|