Catherine David

The other thing was it was also a sufficiently global exhibition.

It was kind of continuing the trajectory set up basically by Catherine David and kind of understanding this as a sort of global exhibition.

So those two things, in a way, they've become very separate since then.

And this kind of goes to your point about polarization.

You know, in the 60s, the gatekeepers were the critics, your friends, that's a long time ago.

And then, in the mid-70s, the curator became the big gatekeepers, you know, Seemann, Koenig, in Europe, I'm talking about Europe, Rudy Fuchs, and so on and so on.

And then, Catherine David was a kind of a final moment of that.

then the market took over so i think the galleries and the collectors became the gatekeepers and the taste makers i found it interesting that what you said about uh your experience of documenta which i also thought was interesting but for me the the curator is long gone as an important figure i'm just serving the people serving the the exhibition the artist that's my job i really don't think weren't in power anymore.