When I arrived in Vienna in 1992, the activities of museum in progress were popping up all over the place: works by Ed Ruscha or Douglas Gordon were shown as large-scale images, pieces by Rosemarie Trockel or Rirkrit Tiravanija were posted on advertising hoardings all over the city; pages by artists were inserted in daily newspapers, and the Safety Curtain in the State Opera provoked and surprised the public. In retrospect, it is clear that museum in progress played a decisive role in our understanding of contemporary art. The museums’ representation of art as masterpieces was shattered, and art was increasingly shown in public spaces – on platforms that had never been used hitherto for art. From the outset, artists were selected from all over the world – further evidence of the visionary and awareness-changing nature of this pioneering initiative.