#117: Consider design, organisational structures and architecture as programme.|#99: Evolve according to changing needs.|#29: We make the program for the artist that we exhibit.|#39: Be the early stepping stone in an artist’s career|#21: Live with the exhibition, spend time with it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#44: No name tags at dinner.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#28: Make Contracts.|#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.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#6: Demand that visitors are active.|#89: Build-in impurity within the organisation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#26: More artists, less borders.|#137: Use the publication as programming space|#81: Things come alive when there is friction.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#117: Consider design, organisational structures and architecture as programme.|#99: Evolve according to changing needs.|#29: We make the program for the artist that we exhibit.|#39: Be the early stepping stone in an artist’s career|#21: Live with the exhibition, spend time with it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#44: No name tags at dinner.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#28: Make Contracts.|#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.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#6: Demand that visitors are active.|#89: Build-in impurity within the organisation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#26: More artists, less borders.|#137: Use the publication as programming space|#81: Things come alive when there is friction.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|
