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We’ve heard the argument that everyone’s a curator online by means of blogging and reblogging, but what about the professional curators who are responsible for producing major physical exhibitions — how are they using social platforms? The ability to publicly explore new theories, archive research, and participate in creative communities, has signaled a new era of openness and transparency in curatorial practice. One example is the research blog that accompanied Paola Antonelli’s Talk to Me exhibition in 2011 at the Museum of Modern Art. The site, stunningly bold and rigorous in its approach, chronicled projects to research, readings, and inspirational ideas for exhibition design. By providing visitors with a backstage tour, Antonelli and her team aimed to shed an honest light on curatorial process, revealing over a year’s worth of research that lead to the exhibition.

On the eve of web 2.0, there were a few sites emerging like Zing.com, an early place for photo sharing. The technology of self-surveillance wasn’t up to speed at that point to make them stick though. Facebook and smartphones would go on to complete the social shift to “sharing.” “Overexposed Dancing” was one of our early works that anticipated this change.

From 1997 to 2003, we worked together on a series of internet art performances, all of which were archived on Cary’s website, Restlessculture.net. Our performances took place on eBay, Evite, Ofoto, MySpace, and a host of other early social media sites that no longer exist. Taking off from Marcel Duchamp’s concept of the readymade, we called these performances “digital readymades.”

For centuries, images were a fairly quantifiable, classifiable thing. One could, if one wanted, generally divide them into two categories: those made by artists and those not; artworks and everything else. There were always complications, of course — where did photojournalism fall, or works made by bad artists, or family photos — but the lines were pretty distinctly drawn: no matter the content or method, art images were those created by artists toiling away in studios or monasteries or workshops; they were shown in galleries and museums and sometimes books, framed very clearly as capital-A Art. Plenty of artists have worked to undermine or discredit this system, like Richard Prince, who upset a lot of people when he started rephotographing Marlboro ads in 1980. Theoretically, the question with Prince went: was this art or copied advertising? The work, however, was shown in specifically designated art spaces, with Prince’s name clearly attached to it. It was undoubtedly art, even if people at first didn’t agree on its qualifications.

So back in the late 15th century, Ottoman people started gathering to drink together. The beverage they consumed? The magical elixir and arguably the greatest drink known to humanity, coffee.