Recounting the actual history of curating and exhibitions can help us steer clear of a related confusion: that the curator herself or himself is an artist. It is true that the exhibition format has become more recognizable and popular, and exhibition-makers have come to be identified as individual makers of meaning. As artists themselves have moved beyond the simple production of art objects, and towards assembling or arranging installations that galvanize an entire exhibition space, their activity has in many cases become more consonant with the older idea of the curator as someone who arranges objects into a display. These developments have given rise to an impression that curators are competing with artists for primacy in the production of meaning or aesthetic value. Some theorists argue that curators are now secularized artists in all but name, but I think this goes too far. My belief is that curators follow artists, not the other way around. The role of the artist changed greatly over the last century. The artist Tino Sehgal has said that the notion of art generated by sculptors and painters in the early nineteenth century, and fully articulated and established by the 1960s, is detaching itself from its material origins and venturing into other realms in the twenty-first century. The exhibition-maker’s role has expanded in turn. Curating changes with the change in art.