Brenson states that the “era of the curator has begun” (Kocur 56) Contemporary art has transformed the language and context of the curator, exhibition and institution. Now, more than ever the role of the curator is vital in not only selection and presentation, but in producing debates and dialogues for the works, artists, institutions, cultures, and society. A curator “ who work across cultures and are able to think imaginatively about the points of compatibility and conflict among them, must be at once aestheticians, diplomats, economists, critics, historians, politicians, audience developers, and promoters” (Kocur 56). The new aspirations of all curators is to use art to implicate a narrative that looks to “redefine national and international relationships” and used as a “means of improving society and making the world better” (Kocur 61). But that idea is contradicted by constellation of words discussed in Bellagio such as hybridity, reciprocity, negotiation and reconciliation which are defined as interconnected words and ideas that encapsulate art institutions and curators.

The problem that arises out of using curators as a social and cultural advocate is language. Like Saussure has taught us, the study of linguistics is arbitrary. If the meaning of art and the discussion of legitimization, quality, appropriation and aesthetics is based on individual and thus varied definitions, how can there be any universal and fair judgment, selection and critique of art. If all curators are affected and defined by their own lives, morals and context how can they be a mediator for any other artist’s reality of life. Yes, I know we go to school to learn the language and knowledge of art, and we learn to have non bias and removed ideas towards a work of art. But if a curators job is to create a narrative and a response from works of art, how is it possible to not interject their own opinions, feelings and messages into the installation? And thus, is it really possible to place such a cultural, social and political responsibility on an individual artistic service.

Kocur , Zoya, and Simon Leung. "The Curator's Moment." Theory in Contemporary Art since 1985. Malden: Blackwell Publishing, 2005. Print.