#89: Build-in impurity within the organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#117: Consider design, organisational structures and architecture as programme.|#54: What about disabled artists?|#137: Use the publication as programming space|#51: How do we invite the true unknown?|#29: We make the program for the artist that we exhibit.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#127: Remain practical: what happens to the work in an endless exhibition?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#6: Demand that visitors are active.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#98: The success of it will not lie in the result but in the process.|#94: No objections? Just do it.|#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|#40: Follow the artist|#68: Once in a while we need to get out of utopia and get something done.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#20: Are exhibitions the most suitable form for the art that we present?|#89: Build-in impurity within the organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#117: Consider design, organisational structures and architecture as programme.|#54: What about disabled artists?|#137: Use the publication as programming space|#51: How do we invite the true unknown?|#29: We make the program for the artist that we exhibit.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#127: Remain practical: what happens to the work in an endless exhibition?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#6: Demand that visitors are active.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#98: The success of it will not lie in the result but in the process.|#94: No objections? Just do it.|#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|#40: Follow the artist|#68: Once in a while we need to get out of utopia and get something done.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#20: Are exhibitions the most suitable form for the art that we present?|
