Exhibitions are accompanied by an ensemble that presents them, represents them, and thus makes them present. This set made up of connected forms, paratexts—to borrow Gérard Genette’s term—and  “exhibition prosthetics”, in Joseph Grigely’s provocative turn of phrase, associates the names of the artists and the curator(s), the exhibition’s title, the texts and essays, the notices, the audio guide, all augmented realities, printed media, and, needless to add, the catalogues. Joseph Grigley questions the reality of the exhibition thus: “Where does an exhibition begin & end? Is an exhibition just about the materialization of specific works of art, or is it also — and if so, in what ways— about the various conventions that go into the making of exhibitions, which include press releases, announcement cards, checklists, catalogues, and digital-based media?” He thus prefers talking in terms of exhibition “prosthetics” “to describe an array of these conventions, particularly (but not exclusively) in relation to exhibition practices.” […]