The films were curated and contextualized.

Promising to give exhibitions of paintings,

It is why I make exhibitions.

I believe passionately in that curated museum experience.

I have two upcoming projects. They're both exhibitions...

Rezero could be used in exhibitions or parks.

We have done already 100 exhibitions in the cities.

In each place, we built exhibitions with a story, and the story traveled.

The second floor is a gallery, used for exhibitions for the local community.

There have been many other exhibitions in the meantime, but I don't want to focus on my shows.

And once you've curated that data, and once you've cleaned that data, and once it's there, you can do cool stuff like this.

We wanted to create an experience where you could find the coolest things curated by the coolest people, all available in one place.

Now, I've described two very immersive exhibitions, but I also believe that collections, individual objects, can also have that same power.

And the TEDPad is a matrix of 100 specifically selected, highly curated sentences that you can easily piece together to get your own TEDTalk.

So I work now at The Studio Museum in Harlem, thinking about exhibitions there, thinking about what it means to discover art's possibility.

To this end, the specific project that has made this possible for me is a series of exhibitions, all titled with an F

The Mediatheque has something like 16 stations where the public can get onto the server and look at digital artworks or also curated artworks off the web.

It could also be something like this the National Museum of Science in London, where this blue is embracing all the exhibitions and galleries in one large gesture.

I spent months in Europe to see the major international art exhibitions that have the pulse of what is supposed to be going on in the art world.

And, then, my final piece comes, from an email I received recently from one of my favorite TED speakers, he actually curated a session at TED in this year at TED this year.

You really have power in that people usually tend to know about your exhibition or see the exhibitions, and that is power because in a design museum I wouldn't have as many visitors.

In due course, I ended up as a curator at the Metropolitan Museum, because I saw the Met as one of the few places where I could organize really big exhibitions about the subject

Artists Who Have Led My Exhibitions because my work, in understanding art and in understanding culture, has come by following artists, by looking at what artists mean and what they do and who they are.

Miller's archive may have been better written and more carefully curated than most, the fact of the matter is that all of us today are creating an archive that's something completely different than anything that's been created by any previous generation.

And my proposal was to split the museum into two the permanent exhibits at one end, the auditorium, library, and changing exhibitions on the other to flood the valley into a series of water gardens and to link it all to the fort and to the downtown.

This series of exhibitions was made specifically to try and question the idea of what it would mean now, at this point in history, to see art as a catalyst what it means now, at this point in history, as we define and redefine culture, black culture specifically in my case, but culture generally.

We've organized more than 90 exhibitions, we've had more than 100 educational activities, talks, and lectures, we've published artist catalogues, and translations, we've represented our artists in Shanghai, Berlin, New York, Malmö, and just recently, actually last week, we came back from Venice Biennale where we had an honor to represent Latvia in what is known as kind of the olympics of arts.