Long before curating was recognized as a profession, artists tried to control the conditions of their work’s reception. In the twentieth century, artists such as Bruce Nauman, Hans Haacke and David Hammons not only made discrete objects in their studios, they expanded their scope of practice to include the very apparatus of presentation and dissemination of the work they had produced—and often that of other artists as well. This against the backdrop of transformations to the exhibition context, from the 19th century salon to the white cube of the twentieth century. Issues that have emerged in twenty-first century curatorial discourse include the rise of “biennale culture,” the artist as meta-curator, and the large-scale curated exhibition as the new autonomous artwork. James Putnam describes “creative curating,” wherein the roles of the artists and curator become blurred as the artist-curator dissolves the boundaries distinguishing exhibition design from installation, as part of a broader project to reinterpret the museum and offer institutional critique (2009). In this seminar, we will consider what insights artists bring to curating that are different from an art historian or a professional curator.