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

The real beauty of the time we're living through is that we can deploy our self-image in ways that can have radical social implications.

We are not only a civilization of amateur photographers; we are amateur curators, editors, and publishers.

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.

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.

The internet does not adhere to the inherent, necessary asymmetry of high-versus-low-art categorizations that we use in the cultural sector: in a banal sense, all photographs on the Web are orphans ready to be claimed.

I have to admit to you, I am the person who's done probably the least analysis on the selfie, because it's a bit like pornography for me. It's this masturbatory, repetitive act that I'd rather wasn't part of my routine.