Part of JRP]Ringer's innovative "Documents" series, published with Les Presses du Reel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a 'spiritual guest worker'... If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice--itself defined by selection and arrangement--would come to be seen as an art that operates on the field of art itself?"

JRP]林格的创新 "文件 "系列的一部分，与Les Presses du Reel合作出版，致力于批评文章，本出版物包括汉斯-乌尔里希-奥布里斯特的独特访谈集，描绘了策展领域的发展--从20世纪60年代和70年代的早期独立策展人和在欧洲和美国开发的实验性机构项目，到文献展和各种双年展和博览会的开始。 从20世纪60年代早期的独立策展人，到欧洲和美国的实验性机构项目，再到文献展和各种双年展和博览会的诞生，先锋策展人Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten 和Harald Szeemann。在2005年这位传奇性的策展人去世之际，评论家Aaron Schuster总结道："我们今天对策展人的印象是：策展人即艺术家，一个漫游的、自由的展览设计师，或者用他自己诙谐的说法，一个'精神上的客卿'。如果自马塞尔-杜尚以来的艺术家都肯定选择和安排是合法的艺术策略，那么策展人的实践--它本身就是由选择和安排定义的--被视为一种在艺术领域本身运作的艺术，这难道不是一个简单的时间问题吗？"

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