“El objetivo final es determinar las propiedades formales de los objetos producidos por la industria. Por "propiedades formales" no nos referimos al aspecto externo, sino a estas relaciones estructurales. y funciones que transforman un objeto en una unidad coherente de productor y consumidor” -- Cubierta posterior

"Una y otra vez en el pasado, el Kunsthaus Bregenz ha presentado posiciones esenciales de las pinturas contemporáneas en su programa de exhibición. Per Kirkeby, Erwin Bohatsch y Helmut Federle fueron seguidos por Günter Förg, Jeff Koons y Gerhard Merz a partir de 2001, quienes presentaron trabajos cruciales de sus obras. Con Gary Hume, el Kunsthaus Bregenz continúa este discurso sobre posiciones importantes de la pintura contemporánea de una manera bastante impresionante. Con cerca de 70 obras de los últimos quince años de trabajo creativo, esta exposición permite una visión general del desarrollo del trabajo de hume, que comenzó a fines de la década de 1980 hasta hoy. " -- Página 5

“A fascinating survey of groundbreaking exhibitions from the 1980s through to now …. The selection shines with the inquiring intelligence and practical know-how that make Jens Hoffmann one of the most inventive of contemporary curators.” -- Cubierta posterior

"Exhibition if the focus of modernist debates was the individual work of art, it is the exhibition that is the prime cultural carrier of contemporaneity. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition. The texts encompass exhibition desing and form; exhibitions that are objects-based, live or discursive; projects that no longer rely on a physical space to be visited in person; artists' responses to being curated; and their reflections on the potential of acting curatorially." -- Cubeirta posterior

“Rather than one overarching theme, the 56th International Art Exhibition of the Biennale is informed by a layer of intersecting filters. These filters are a constellation of parameters that circumscribe multiple ideas which will be touched upon to imagine and realize a diversity of practices. All the World's Futures employs as a filter the historical trajectory that the Biennale itself, over the course of its one hundred and twenty years existence has run over. A filter through which to reflect on both the current 'state of things' and the 'appearance of things.' At its core is the notion of the exhibition as a stage, where historical and counter-historical projects are explored. Within this framework the main aspects of the 56th Biennale Exhibition solicit and privilege new proposals and works conceived specifically by invited artists, filmmakers, choreographers, performers, composers, and writers.” -- Página web