Upon entering the exhibition—any imagined example will suf ce for the time being—we enter on the loaded grounds of the exhibition space: a cultural eld of inter-human energy exchange. A space charged with relations between different actors—artists, curators, staff members, and visitors, among others—each with their different aims, ambitions and intentionalities, and what we might call objects of interrogation, reflection and interaction that have been brought forward and put on display. As an exhibition visitor, we move around in white spaces, roam through repurposed warehouses and grey hangars, and wander in and out of black boxes to have a lived experience of and encounter with an art object, and with what its respective author had wanted it to say— often cross-referencing our thoughts with the descriptive label presented alongside the art object. With our epistemological maps and preconceived knowledges at hand we may alter our visions accordingly, in response to that what is given on site, and make corrections to our assumptions and common thinking—the refusal to look deeper than a certain level—with the newly acquired addition of those stories and perspectives previously unaccounted for. Here we may indeed speak of a desirable outcome—in the shape of both added and surplus mental values and insights—for an exhibition and its contents, found in the key of the production of subjectivity, on the level of the visitor, that is, in fact, a human being.

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