In the art discourse over the past decade, there has been an emphasis on the concept of care in the theoretical analyses of artistic practices, in artistic practices themselves, and, in some cases, in definitions and calls for alternative approaches to curation, often drawing on the etymology of the Latin term curare. As I will demonstrate, the concept of care in art and curatorial discourse during this period has typically appeared in three distinct ways. A recurring feature across these approaches is the shared premise that artistic practice, an artwork, or an exhibition as a medium should be understood as an assemblage—that is, as the result of a confluence of a network of interdependent discursive, material, human, and non-human actors. Since, and when, artistic practice, artwork, or exhibition is defined or deliberately materialised as an assemblage, care no longer appears merely as a theme to be addressed or visually represented. Rather, it is to a greater extent articulated as a commitment to maintaining network interdependence and to producing visibility and perceptibility within it.
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