Once an artist becomes a curator, he or she relinquishes the status of the artist and encounters all the problems heaped on previous exhibition organizers. The main problem with Documenta is the competition from its rivals. Once the proud originator of the large-scale international biennial-type exhibition, it is now just one of probably thousands fighting for public attention and recognition. Last time around it did go a little too far. The exhibition was really only a small part of the circus. To follow the event fully required numerous trips to far-flung corners of the world in an attempt to follow the curators thought patterns and reasoning. This does question the idea of the straightforward approach to exhibition making, but who in reality followed the process 100 percent? We did not.

Why not forgo the curator?
If he or she comes across so many obstacles and critiques in his or her development of the dream exhibition, let us do without a curator. Open the doors and allow the artists to plan their own destiny! Each and every artist equal for the first time. Anarchy, some may call it, but maybe it is the future.

Imagine the scenes, as enthralled visitors watch while artists argue their case. Paintings, photographs, sculptures, and large installations vie for the most prominent position. A line of artists, dealers, assistants, and transporters jostle in the queue; works torn from the walls are replaced again and again. The police are called on more than one occasion. Makeshift spaces fill the streets of the city; private houses offer wall space for a price. The art world‘s workings open for all to see.

Or maybe the show would just be a very large debate around the allocation of space. How and why this should be here and that there. Inside, outside, and upside down.

We will never know, though, because an artist will not curate the next Documenta.

Or?