#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#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.|#64: Arrange a distribution of forces.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#54: What about disabled artists?|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#112: Spaces today don’t need to be curated, but occupied.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#30: Don’t work with artists who are assholes.|#37: Operate with radical transparency.|#119: Be a space of production.|#90: The best systems have a failure or ‘a hole’ in them…|#137: Use the publication as programming space|#29: We make the program for the artist that we exhibit.|#40: Follow the artist|#127: Remain practical: what happens to the work in an endless exhibition?|#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|#92: We’re a learning organisation.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#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.|#64: Arrange a distribution of forces.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#54: What about disabled artists?|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#112: Spaces today don’t need to be curated, but occupied.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#30: Don’t work with artists who are assholes.|#37: Operate with radical transparency.|#119: Be a space of production.|#90: The best systems have a failure or ‘a hole’ in them…|#137: Use the publication as programming space|#29: We make the program for the artist that we exhibit.|#40: Follow the artist|#127: Remain practical: what happens to the work in an endless exhibition?|#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|#92: We’re a learning organisation.|
