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The curator of Documenta 11, Okwui Enwezor, has repeatedly stated that the main question for the mega-exhibition was the development of a public sphere in which art works could be discussed and utilized as a means of understanding the contemporary world. [27] Most of the mass-media coverage, though, and even that of the art media, focused on predictable quasi-topics - Enwezor as the first African curator of the Documenta, or as an intellectual supposedly expelling sensuous pleasure from art, et cetera. Not that all the blame for this rests on one side. The exhibition in Kassel was conceived by Enwezor as the last in a series of five 'platforms'; the first four had consisted of discussions and lectures on various aspects of globalization and postcolonial culture, held in different parts of the world. Some of these took place in closed session, and the published reports of their proceedings were still unavailable when the Kassel exhibition opened its doors.
In contrast to the 1997 Documenta X, at which curator Catherine David had organized a hundred days of lectures and discussions during the course of the show, in Documenta 11 there was a separation between a semi-public critical discourse that took place in rather secluded meetings, with few direct links to art, and the actual art exhibition. . . . more
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:: comment :: . . . wood s lot blinks if & then goes further in the search (blinking me to the above) which leads me deeper and deeper along the path . . . that is what community means to me . . . insights into insights . . . thanks especially to Mark but also to all . . .
Thoughts, wrote Nietzsche, are shadows of our feelings: always darker, emptier, and simpler than these. And the written word, it strikes me, is but a shadow of our thoughts. 
