I think that the role of curating an exhibition is to reanimate history and make it relevant to a contemporary viewer.

More platform-sensitive generations will make distinctions between online and in-person intimacy, whereas fourteen-year-olds have very nuanced online selves and might embody their virtual identity in the physical, analogue version of themselves. They have a much more pluralistic understanding of the self. I don't think we'd be here now in this amazing sexual and gender revolution without the online space where young people can see and share other versions of identity and sexuality.

I love bells, clocks, watches - and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing.

In an era where digital or virtual is the default, the actual coming together into a physical space has to be an experience that you don't want to miss.

Every time you enter a space, you are on public display. Nothing is private.

Photography's relationship with pornography is as old as photography. That kind of unholy relationship is formed from the very beginning, and there's a reason why: it's thoroughly enjoyable to be that voyeuristic. Voyeurism is a very old modality, and most of the history of photography is in some way related voyeurism.

I think the twenty-first-century modality is exhibitionism. Exhibitionism is our contemporary strategy for maintaining our boundaries, which is to be boundary-less - to put everything out there before somebody comes and violates or penetrates something that we're keeping sacred.