This notion of curating difference can be discussed by situating the debates on art, culture, exhibition, mobility and exchange within the context of the rapidly changing discourses of globalization, interrogating the curatorial paradigm that informs the processes of exhibition.

Do we need a distinct framework to explore the links between identity politics and contemporary art practice? As Lu Jie asked, the curator of the Long March Project asked at the 9th General Meeting of Res Artis and conference in Sydney, “how can an exhibition more deeply express the physical and social displacements, the realization and loss of knowledge and the search for the construction of identity?”

How do we experience difference; can it be presented; and how does the curator construct and signify difference when dealing with the relationship between diasporic and indigenous perspectives of contemporary art? How do we position the local in relation to the changing internationalisms; is the new global order dividing the world into the curated an the curators as the Cuban independent critic and curator Gerardo Mosquera suggests, whereby the 1st world are the curators and the 3rd world the curated. What does this mean in elation to the power structures of curating within the framework of the international art circuit?

In the era of increased mobility and cultural migration, who is in fact constructing whom and conversely, who is colonizing whom when considering the flow and direction of curating projects of exchange across boarders? How does the narrative of Western Eurocentric art history and tradition deal with and understand the implications of difference and of the other; who does it include and how does it exclude, and where does the power lie in the curatorial chain of representing the other? How does new media really make its impact on the global and local networks of cultural and political practice, and where is the curator positioned in this digital interface?