The close interlocking of new works, on the one hand, and collecting and/or conserving, on the other, which is often seen as an internal contradiction and as fundamentally problematic for museums of contemporary art, is something that I consider to be one of the most important tasks of a curator, and also a concrete opportunity to keep up with the altered conditions of production and reception of contemporary art. Exhibiting contemporary art today no longer means only presenting existing works. In many cases, artists develop context related, process orientated and discursive projects for the given location, which also refer to the architectural, historical and structural parameters of the particular institution. The works, for the most part, must be produced anew and mediated according to their public aspect. The museum of the 21st century therefore becomes both producer and mediator, and must find structural ways and means to satisfy this responsibility. At the same time, museums should not only facilitate the production and mediation but above all the reception of the artworks and their documentation for future generations.
Susanne Gaensheimer (2007)