With the accommodation of terms such as performative, or self-reflexive, it is clear that curating is no longer only about exhibitions. This form of discourse proves that curating is slowly turning into a visible, self-critical and transparent process. The rising transformation and visibility of the exhibition since the 20th century has encouraged students to develop a motivation for engaging with the history of curation. On one hand, the transformation narrows down to the foundation of new institutions that accommodate for the exhibition of contemporary art, increasing temporalisation of museums as well as expanding the art market with countless art fairs and gallery shows(Vogel, 2013)1. Besides the need to renovate museums and enlarge their temporary exhibition spaces for marketing and other economic-related reasons, an artistic engagement with the museum’s collection has become a critical requirement for everymuseum. Regardless of the fact that these strategies are based on permanent collections, the presentation approaches have replaced the atemporal collection displaythat is viewed as rigid and authoritative(Altshuler, 2012)2. On the other hand, the art exhibition is changing to an extent that it encourages us to appreciate a range of typologies that overshadow the conventional formats of solo, group or thematic shows. The discourse in art curation considers the growth of new artistic practices that include institutional critique or conceptual art(Bourriaud, 2002)3.