[Image: Saul Alverez, Primary ventures in house-breaking or Pissing my pants while wearing a coyote pelt, 2005] “[...] Joao Ribas: There are two things you mention that bare developing. One is a change in the models of production, which in an odd way have partly veered off into a blurred territory on both sides in the last three decades. The distinction between “studio” and “exhibition space” that defines some of the inherited hierarchy in the roles of artist and curator — think of the trope of the studio in nineteenth-century painting for example — doesn’t quite hold up in contemporary terms … and some curatorial models revolve around the notion of producer rather than organizer of exhibitions. Certainly, ideas of “postproduction” or “site specificity” or “collectivity” undermine a clear distinction between traditional roles. The second is the nature of the interpretative gesture itself, which is always characterized in the history of aesthetic thought (at least since Kant) as a deferral, a reflective judgment after the fact. But, then, why should the curatorial gesture be negatively defined as dismantling a supposed line between artist and viewer rather than the other way around, as if an artwork were an utterance—already a terrible fallacy—and curating amounts to an interruptive stutter? …” From You Kant Always Get What You Want - Joao Ribas & Matt Sheridan Smith, Issue 59, Fall 2008, Art Lies.