No. 1

aCCeSsions is the online journal of the Center for Curatorial Studies, Bard College, New York.

aCCeSsions takes curating as a basis for expanding and transforming the disciplinary limits of existing discourses, for engaging with knowledge and practices outside of art and exhibition-making, and for the transdisciplinary investigation of what curatorial praxis could be.

aCCeSsions commissions contributions over a biannual publication cycle. Each new issue is launched with feature pieces and provocations that explore the publication cycle’s central theme. The provocations are designed to elicit a chain reaction of responses and a wider conversation, which culminates at the end of the cycle with concluding remarks from the initial provocateur. Each issue of aCCeSsions is archived at the end of the publication cycle.

Editorial Board

Xavier Acarín, Kathleen Ditzig, Amber J. Esseiva, Roxana Fabius, Lee Foley, Wang Jing, Elizabeth Larison, Robin Lynch, Park C. Myers, Natalia Zuluaga


Adriana Blidaru, Staci Bu Shea, Patricia M. Hernandez, Tim Gentles, Bhavisha Panchia, Rosario Guiraldes, Dana Kopel, Rachael Rakes


General Editor:

Paul O’Neill


Managing Editors:

Suhail Malik (2014–15), Orit Gat (2015–16)


Assistant Editors:

Victoria Ivanova (2014–15), Roxana Fabius (2015–16)


Bard College

NY 12504-5000



Design by Other Means


The Artworld Is Normal

No. 1, 2015


Martin Craciun

In response to: Lindsey Berfond, Teach Me

In my early days as an architecture student I first heard about the idea of the teaching-learning process. This half holistic idea that me and my professor should be embraced together in something that will benefit both never worked for me. A binomial that should not be detached. It was not until later, while developing my final architecture project, that a cathedratic in architecture design told me in his workshop that architecture cannot be taught, it can just be learned. Only when I ended up taking part in a professor’s study group on education and pedagogy I learned about the difference between teaching and learning. They are two different processes with very specific aims and strategies. As a teacher I personally focus on evaluation processes that function as a critical tool for learning, understanding and improving our open, undetermined, collaborative educational process. If we agreed on the social implications of contemporary art practices and its decreasing ability to transform our society, how shall we measure the effectiveness of our actions? What are the utopias or dystopias that we should take into account when we plan exhibitions, seminars and courses? and how should we evaluate them together with the public?