however, he   accepts artists to take up the roles of the curator.   Vidokle feels that the curatorial power is out of control and that there are big risks for artists.   He explains that   it is hard for artists to say no to a curator who has invited them to participate in a show to make the work creditable.   In 1993 Jens Hoffmann's essay, The Next Documenta Should be Curated by an Artist,   John Baldessari argues   that, "Curators seemingly want to be artists... I don’t know if this is an unhealthy trend or not.”     The curator takes a lead role on displaying work, the exhibition layout can affect the overall view of the work.  
It can be problematic when curators use artworks to preset their own thoughts, genre and interpretations. Artists who curate their own work would have more freedom to exhibit their work. In 2003 the   Art Director, Iwona Blazwick argues that “the best curators tend to be artists, they just don't bother following the rules.”   He explains that exhibitions don't need to be over-explained instead, do it through juxtaposition by putting together different forms and disciplines. In the contemporary art world, artist remove their works from the studio to galleries.   Removing the artist work from the studio to a curated exhibition, takes away the creative narrative.   The creative role now added to the curators character develops a new   outlook of the exhibit. Consequently, curators are now becoming practising artists, rather than directors of the gallery who aimed to create an experience   of the art being shown to the public.
Artist Marcel Duchamp is an example to help address this critique. In New York, Duchamp curated an exhibition, First papers of Surrealism (see figure 3).   It demonstrates how the most interesting exhibitions can be created by the artist, who shows strong curatorial agenda that demonstrates their thinking, responding and making connections and arguments. Duchamp experimented with space and display   during the 30s.   With the...