While the artistic practices imply other ways of thinking, which differ from those of science or norms, curatorial practice selects and connects and develops a sharable form, beyond the specificities of work or context. Revaluating the imaginary dimension of curating, the art theorist Helmut Draxler addresses the significance of selecting and making available within curatorial activities. He clarifies the proximate personal connections between the activities and the curator, and claims that their aim and value lie neither in “a remedy nor proposing a solution to overcome the crisis, but ultimately do define the various positions in the first place through acts of attribution and de-attribution” (Draxler, 2012). His remark suggests a fundamental difference between curatorial practice and theoretical analysis. Curatorial practice works with different accumulations and does not aim at examining in the same way as scholarly research, which focuses on progressing towards an objective. I would say that curatorial practice dis-occupies a space and changes the location of precisions of conceptual thoughts in the presentation of unmediated reality. It does not compete with other forms or directions of thinking, but rather loosens their directedness. That is why it facilitates working with and benefitting from existing discourses, languages, and methodologies, while simultaneously pointing out the limits and the problematic aspects, despite providing specific progressions and solutions. It is the creative act, with a tentative experiment connected with a non-directedness of thinking. Thereby, it should not be misunderstood as imprecise or irresponsible, although there is an increasing tendency to mix the two within the framework of “art and research.” It is instead a form of thinking, just as “theory” is, as well as a methodology for forming thinking. Curatorial practice is processing as well as processing back the realities in different ways so as to change the locations of precisions. Because processing information in the world opens up different modes and constellations of knowledge, simultaneously processing the words back hence opens up different paths and nodes of information, which are not predesigned according to specific criteria, structures, or systems. In this sense, the curatorial ability to select, capacitate, and circulate can contribute to new constellations for mapping and thinking, allowing us to see what we are, and, from there, to build new realities of what we could be.