Group of figures 

Editor: Victor Müller’s pencil drawing, “Group of Figures,” shows two separate groupings of figures sketched on a single sheet of paper. They appear ethereal, almost like ghosts. The looseness makes it seem like Müller captured figures in motion, like a snapshot of performance, however impermanent. How would you interpret this work in terms of art's broader cultural function? Curator: It's interesting you say performance, because the looseness could be a gesture against the highly polished academic art of the 19th century. Sketches like these were often preparatory, private. Their later display challenges traditional notions of what constitutes 'finished' art. How might the display of preparatory sketches change what is deemed worthy of viewership? Editor: I hadn’t thought about it that way. It really wasn’t intended to be viewed publicly? It almost feels subversive, like sneaking a peek behind the curtain. Curator: Exactly. Now consider the socio-political climate of Müller's time. Was he critiquing the establishment by presenting unfinished works? Was it to say that even preliminary ideas, not perfect executions, hold cultural value? And whom was he picturing? Their social position in society impacts the cultural capital it embodies and the effect of viewing them as rough drawings. Editor: So, the simple act of showing sketches in a gallery could be a statement about who and what is worthy of attention. I initially saw movement, but you’re making me consider how it redefines what "art" can even be. Curator: Precisely. And by considering art this way, we can understand its evolving role in shaping society's values and dialogues. The institution showcasing this sketch actively participates in the definition. Editor: This perspective makes me think a lot more about where else we might find ‘art’. Thank you!