Comentário I: Curadoria artística dentro e fora do museu

For art historians who are dedicated to researching the reception of art through museums, galleries, art critics or other intermediaries, it is urgent to reflect on the future of artistic curation, as there is a very large bibliography on the history of art collections , but not so much about those responsible for its maintenance, study and presentation. One of the fundamental differences between a visitable collection and a museum is precisely the existence of professionals in charge of these functions, a defining criterion currently used by authorities to recognize or not an institution as a museum, just as it is by researchers in the evolution of museology as a discipline. Therefore, it seems very pertinent to me that Ana Gonçalves Magalhães and Helouise Costa evoke the figure of David Teniers, the Younger,two Later, in the parallel chronicle of the development of collections, museums, academies and other instances of the art system in Europe and Brazil, professors Gonçalves Magalhães and Costa consider that the curator-curator of art museums has been separating from criticism and curatorship of contemporary art, a statement that it would perhaps be convenient to nuance.