#53: Immaterial support for artists is important.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#81: Things come alive when there is friction.|#37: Operate with radical transparency.|#55: Keep basic human needs on the forefront.|#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?|#98: The success of it will not lie in the result but in the process.|#94: No objections? Just do it.|#61: No all male install teams.|#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.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#99: Evolve according to changing needs.|#10: Don’t be obsessed with numbers.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#56: Take a lunch break.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#30: Don’t work with artists who are assholes.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#111: Do it together.|#91: Embrace doubt.|#107: Build a community / scene.|#54: What about disabled artists?|#53: Immaterial support for artists is important.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#81: Things come alive when there is friction.|#37: Operate with radical transparency.|#55: Keep basic human needs on the forefront.|#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?|#98: The success of it will not lie in the result but in the process.|#94: No objections? Just do it.|#61: No all male install teams.|#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.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#99: Evolve according to changing needs.|#10: Don’t be obsessed with numbers.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#56: Take a lunch break.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#30: Don’t work with artists who are assholes.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#111: Do it together.|#91: Embrace doubt.|#107: Build a community / scene.|#54: What about disabled artists?|