#39: Be the early stepping stone in an artist’s career|#81: Things come alive when there is friction.|#14: Can you also remain a toddler institution?|#59: Always protect the floor when painting (or pouring concrete)|#54: What about disabled artists?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#94: No objections? Just do it.|#51: How do we invite the true unknown?|#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.|#62: Be kind. Full dishwasher: empty it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#61: No all male install teams.|#21: Live with the exhibition, spend time with it.|#132: Things will always look weird when you’re the first doing it.|#92: We’re a learning organisation.|#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|#28: Make Contracts.|#35: The artist fee should be good.|#37: Operate with radical transparency.|#84: The White Cube is a lie.|#119: Be a space of production.|#127: Remain practical: what happens to the work in an endless exhibition?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#39: Be the early stepping stone in an artist’s career|#81: Things come alive when there is friction.|#14: Can you also remain a toddler institution?|#59: Always protect the floor when painting (or pouring concrete)|#54: What about disabled artists?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#94: No objections? Just do it.|#51: How do we invite the true unknown?|#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.|#62: Be kind. Full dishwasher: empty it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#61: No all male install teams.|#21: Live with the exhibition, spend time with it.|#132: Things will always look weird when you’re the first doing it.|#92: We’re a learning organisation.|#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|#28: Make Contracts.|#35: The artist fee should be good.|#37: Operate with radical transparency.|#84: The White Cube is a lie.|#119: Be a space of production.|#127: Remain practical: what happens to the work in an endless exhibition?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|