The traditional curator maintains a collection of art by preserving, exhibiting and studying those objects, at the other hand, the contemporary curator need not work with a collection or objects at all, and instead engages with cultural meaning and production, often from a position of development that is shared with the artist, moreover, they have particular knowledge of and access to art objects that can generate valuable new insights
(Patrick, 2004).
However, the role of curator has kept changing through different periods. Like Paul (2012) mentioned that being driven by the market by the 1980s, the object-based art shifted in the exhibition-makers' role from curator-as-mediator to curator-as-author. Exhibitions became stylized extensions of branded curatorial identities - physical demonstrations of subjective curator self-presentation. By the late 1980s, the exhibition itself was an object of criticism and discussion, and the curators became hyper-visible personalities within the art world. Independent curators began to partake in symposia, publications, and public forums, situating their own practice as the subject of critical discourse. By the 1990s, curating had emerged as a global profession and curators enjoyed art-star status on an international level. .
Driven by the fast developing art industry, the curator bears more responsibilities and duties. In the other words, her tasks become complex and flexible. It is obvious that with the core goals of informing, educating and inspiring the public, she acquires, cares for, develops, displays and interprets a collection she picked up via the museums or galleries. As well as responsibility for a particular collection, it can often include other activities, such as public relations, marketing, fundraising and education programmes. .
Besides, there can be an overlap with the exhibition manager's role. Curator is also expected to prepare budgets, manage staff and build relationships with both internal and external partners and stakeholders.