In a recent essay, curator Maria Lind identifies two common ways in which exhibitions address their public. While large-scale institutions engulf museum-goers in a wide-reaching didactic embrace engineered by education and PR departments, younger curators, inclined to clever curatorial concepts and intensive collaboration with artists, often ignore the question of audience altogether. “It is a seeming paradox,” she writes, “an excess of didacticism and, simultaneously, a renewed need for mediation.” As the new director of Tensta Konsthall in Spanga, Lind draws on these observations, proposing a new direction that would marry curatorial initiatives with productive negotiation of the exhibitions’ public role. Her interest in “creating contact surfaces between works of art, curated projects, and people” manifests itself in an interdisciplinary approach to questions of politics, economy and the conditions of artistic production. Following a renovation by architects Nikolaus Hirsch and Filippa Stålhane, Tensta reopened its doors this past January with the fourth installment of Lind’s exhibition/research project “The Abstract Possible.” This spring, it will present “The Bidoun Library,” a mobile library that surveys the printed matter of the Middle East as both a geographic territory and a constellation of ideas. (Jesi Khadivi)