The past twenty years has seen a growing number of publications focusing on curating practices emerge. Within this same period of time, the installment of curatorial programs in academia as well as in biennials has increased as well. Curating is no longer seen solely as the practice of art aficionados, as art systems have resulted in curating emerging as a must-have profession within the education criterion as well. Curating has also begun to take different subjects from modern society, as long as variations of public presentations, loosely defined exhibitions, and selections of art are involved.  It goes without saying that discourses around the new subject of curating can often be heated , projecting various views with diverse applications. This article  examines the approaches of these discourses, highlighting the relationships between them so as to locate the aesthetic-political dimensions of the practice, which is becoming a part of contemporary culture.  The neologism “curatography,” etymologically meaning the writings about curating, is designated in order to show the discursive practice of curating noetic knowledge. The term is also necessary to explain the relation between speech and writing, whose interplay is not only an indispensable part of an exhibition, but also the construction of discourses in the production of knowledge.