#37: Operate with radical transparency.|#137: Use the publication as programming space|#98: The success of it will not lie in the result but in the process.|#74: Last one out turns of the lights.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#35: The artist fee should be good.|#17: An exhibition is never finished.|#14: Can you also remain a toddler institution?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#34: We pay artists.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#68: Once in a while we need to get out of utopia and get something done.|#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.|#29: We make the program for the artist that we exhibit.|#132: Things will always look weird when you’re the first doing it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#112: Spaces today don’t need to be curated, but occupied.|#62: Be kind. Full dishwasher: empty it.|#94: No objections? Just do it.|#54: What about disabled artists?|#37: Operate with radical transparency.|#137: Use the publication as programming space|#98: The success of it will not lie in the result but in the process.|#74: Last one out turns of the lights.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#35: The artist fee should be good.|#17: An exhibition is never finished.|#14: Can you also remain a toddler institution?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#34: We pay artists.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#68: Once in a while we need to get out of utopia and get something done.|#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.|#29: We make the program for the artist that we exhibit.|#132: Things will always look weird when you’re the first doing it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#112: Spaces today don’t need to be curated, but occupied.|#62: Be kind. Full dishwasher: empty it.|#94: No objections? Just do it.|#54: What about disabled artists?|