The role of a curator, when situated in such a charged milieu, has taken on a new sense of allegiance towards community-building exercises. Here, the community represents a living embodiment of collective and individual movements – within hyphenated subjectivities. In this context, as a conversationalist, the curator engages in continuous practice to shape the
horizons of possibilities with a perspective rooted in political aesthetics, thus assessing the emancipatory potential of the arts.

The panel discussions and roundtables of the two-day symposium served as the point to access and problematise the position of a curator in the making of an exhibition – an expressive response to the politically-motivated social environment. Towards this end, the symposium sought answers to the following questions to assess the possibilities both available to the curator(s), artists and viewers when the exhibition is conceptualised and displayed:

1. How does the curatorial framework reimagine theoretical readings and visual materials of art history for the public?
2. What are the means to liberate art from the subject of interpretation to envision it as a critical discourse on the politics of history and its representation?
3. If the curator as an interventionist reconceptualises institutional set-ups through a comparative and collaborative approach?
4. The perspective of curators can shape art historical narratives. How can curators be conscious of their biases and cultural perspectives, working to ensure that their curatorial gaze is diverse, inclusive, and representative of a global art discourse?
5. The horizon in curatorial work often involves looking to the future of art. In this rapidly changing world, how can curators anticipate and navigate emerging trends and movements, ensuring their curation remains relevant.