Regional images have had to be judged by biased judges mostly used to motifs satisfied by local or indigenous practices, not necessarily in true foremost. In this presentation I am focused on just the En Plein Air images where people mistakenly place all mountains in the background as blue. Too, use dioxizine purple for shadows. These to efforts are not valid when documenting nature. Too, the naive artists base their image on the camera . So the En Plein Air logic or reasoning has not been followed. Since the sole purpose should be to acknowledge the sunlight and the atmosphere and the environment. Non spectral colors should be avoided since they do not exist in nature. Blah blah blah…

Art criticism and curatorial practice are complementary activities that manage different aspects of art circulation. Critics can inform about new ways to evaluate artworks and can supply information about context, markets, trends, and reach. At the same time, curatorial practice can expose critics to unknow artists, offer new perspectives to analyze artworks, bring forth objects and communities that were left in the dark. It is also relevant that both art criticism and curatorial practice are fundamental actors in the understanding and expansion of the limits of art institutions. They participate in the battlefield for control over meaning, but can also be good tools to decolonize museum practices.

I believe that each curatorial project is unique in terms of process and it is not possible to list a fixed sequence between them, because for each project the relationship with what they call "sources" changes. The public can be the first source, as we can see in several exhibitions with collective and collaborative curatorial processes with the public. Furthermore, treating works, artists and the public as "sources" is perhaps not the most appropriate either, as this way they are separating the curator from the environment in which he operates. The curator does not just activate research sources, he lives with and is affected daily by them and by other diverse poetic, social, political, urban, architectural, economic factors, etc.

In terms of sources, we shouldn't forget the role of archives, academic research (including on socio-cultural contexts), art magazines, interdisciplinary collaboration. For instance, in terms of innovation, engineering projects can inspire curatorial research.