In 1997, the 10th Kassel Documents Exhibition concluded with the 20th-century documents exhibition by Catherine David, a female curator, which was full of implications. It not only symbolizes the dazzling transformation of top contemporary art exhibition with Kassel as the representative, but also signifies that the new force of female exhibition designers enters the international art circle in high profile. Catherine, who once worked at Georges Pompidou National Center For Art and Culture puts forward the idea of “The Meeting of 100 Persons for 100 Days” while overriding all dissenting views. Her idea completely conforms to the needs of development for contemporary art fashion ranging from the simple shelf art to the rising of new art forms, viz. new media, behavior and video. Finally, art has become the means of sociology, politics and philosophy. It is slightly unexpected and interesting to find that it is a woman that has made such a spectacular turn, which reminds us of Beauvoir, a French Capable able woman. Although the transmission of female power from the humanitarian studies to the art field does come 40 years later, it is absolutely powerful and irresistible. In this civilized world that specially emphasizes the respect for women, women not only display more their own distinctive characteristics that are beyond men, but also have the priority right exclusive to themselves sometime, somewhere. Because of these, those office and public relations work, such as organization, coordination, affairs with media and governments are done by them with facility. As for careful calculation and strict budgeting, appropriate phrasing, they are only exclusive to women. The femininity of sensibility and conscience are naturally blended with the art of middle class, just like milk and coffee do. Armed with the self-independence and the combative spirit that the feminism emphasizes, female curators with Catherine as the representative have completely become the harmonious embodiment of beauty and wisdom, heroine and chivalrous swordswoman.

After Catherine David, more and more female curators appear at the world biennial exhibitions. It is said that three women and a goose make a market. The grouping of these female curators enables the great show of contemporary art to be more exciting. 2009 Istanbul Biennial was jointly presided over by four female curators from Croatia. They were classmates at University of Zagreb and concertedly set up WHW (What, How and for Whom) Team, which was devoted to the exhibition designing. It was soon followed by Koreans. 2012 Gwangju Biennial is jointly presided over by 6 young female curators from Asia.

Over the last decade, names of female curators frequently appear on the list of top biennial exhibition curators of the world. Especially when symbolic exhibitions such as Kassel Documents Exhibition and Venice Biennial are organized by women, it means that female curators advance into the contemporary art field at the full speed. We will wait and see whether the subsequent series of factors caused by the sex brings forth the powerful impacts on the international exhibitions and its field or not.