The Concept of a Curator’s Choice and Classification: “Exhibitions Are Far From Neutral” 
A curator has the authority of selection and classification as the creator of an exhibition. Naturally, exhibitions are far from neutral when a curator is planning and directing them since the curator is in a position to classify and select artworks. Accordingly, the overall tone of an exhibition is determined by how the curator arranges artworks within the space.  
Suppose a Manet collection is on view. The viewers’ respective viewing experiences will distinctly change depending on whether the works are displayed chronologically or alongside works by modern of the same era. Moreover, a curator ceaselessly contemplates how to create a spectacle at the exhibition. There is no doubt that the layered meanings of artworks are important, but it is crucial that a curator establishes a sense of beauty and a scene imbued with spectacle to present viewers with a certain aesthetic sense. As a result, a curator intervenes in an exhibition by means of selection and classification, from the planning stage through actualization.
   
Commissioner of Art Production and Projects: The Curator as an Artist 
Unlike the past, when artists mainly planned out exhibitions, today’s curators began to appear as artists by directly planning projects or acting as commissioners of art productions. In particular, the emergence of celebrity curators made it possible for them to actively intervene in the production of artworks. For example, Harald Szeemann’s <> was curated by a celebrity curator, and the exhibition is appreciated as an artwork in itself. Moreover, the exhibition quickly established Szeemann as an internationally renowned curator. Recognizing curators as artists and celebrities led to the production of artworks that are only feasible in the form of exhibitions, and now the exhibition is studied as a creative production and as an artwork in its own right. 
 
Display 
Display is an essential element to consider when a curator organizes an exhibition. In the past, when museums or galleries planned an exhibition, display involved formative intervention such as the color scheme, hanging methods, the movement of viewers, lighting, and installation. For instance, many educational and instructive exhibitions would utilize the color green on the exhibition walls, and it was also shown that the color red gives the appearance of a greater number of artworks than those actually displayed. Also, the eleventh <> (1920) in Berlin, Germany, saw many experimental attempts with regard to display. Hanging a portrait directly on the ceiling of the exhibit space or hanging artworks in no particular order demonstrated that the role of display is as significant as the meaning of the artworks. Today, the ever-growing number of mediums indicates that the intervention of display is a compelling instrument when it comes to exhibitions. 
 
Text
When a curator organizes an exhibition, text wields a great impact on the artwork. The curator may discover unexplored aspects of an artist’s work when the curator writes an introduction or criticism of the work. When curators attempt to write on or critique artworks, they fundamentally seek elements of boundless verbalization. In other words, a curator essentially attempts to connect an artwork to the world through exhibitions or through text. However, artists might desire discussions of their works only to a certain extent, or might prefer small exchanges with the world that are confined to certain vocabularies. For these reasons, it is essential for a curator to approach artists and their works with in-depth understanding and observation prior to writing, just as it is imperative to determine whether the text delivers the appropriate meaning of the work without distortion. Thus, for a curator, writing is a creative approach to an artwork as well as an object to be contemplated with caution.