TABLE OF CONTENTS

Helen Molesworth

FOR ME, THE CORE DILEMMA FOR MUSEUMS TODAY is the sheer scale and scope of artistic production. At no other time has the world generated so many people who identify themselves as artists, who make so many things that people can buy, and who have so many places to exhibit. The production and distribution system is so vast that anything like consensus—which I still romantically hold on to as a notion—is at the threshold of impossibility. And if consensus is not quite possible, but one is suspicious, as I am, of one’s personal taste—be it connoisseurship or the whole notion of the “I”—then how does one find and commit to the work that is important? How do we create the conditions for a discussion of criteria? If we’re truly interested in the audience or the public, we in museums have to have some way of making our decisions transparent to them.

Another question facing institutes of contemporary

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