Heinich and Pollak begin by outlining the manner in which the professional position of curator has changed over its history. Whereas curators historically were charged primarily with safeguarding artifacts collected by cultural institutions, curators nowadays must not only enrich cultural heritage—largely through the purchasing of contemporary art—but also bring it to the public. Particular emphasis today is placed on the importance of connecting with people who have no special knowledge or experience with art. Accordingly, exhibitions have also changed from in the past having been displays of a particular collection to now predominantly being thematised shows that are conceived around an artist, movement or idea and that contain works owned by multiple different collecting bodies. Curators, like the group of artworks they assemble, are thus oftentimes not affiliated specifically with one institution but rather act more autonomously and authoritatively than they have in the past. Heinich and Pollak compare the curator-as-author to cinema’s concept of an auteur, a monolithic figure who carries out a multiplicity of tasks and operates as a singular name rather than as an institutional representative. This ‘autonomisation’ of the curator has been somewhat paradoxically accompanied by a de-professionalisation of the role that has permitted a wider understanding of who can be a curator.