Emily18 Full Sets Galleries 2013 2021 -

Social‑network analysis of artist collaborations (derived from catalogue acknowledgments) revealed an increasingly dense “Emily 18 network”: the average degree rose from 1.2 (2013) to 2.8 (2021), suggesting that the full‑set format facilitated peer‑to‑peer exchange.

Recent scholarship has highlighted a shift from thematic group exhibitions toward more artist‑centred, narrative formats (Bishop, 2012; O'Neill, 2016). The full‑set model is a particular manifestation of this shift, allowing curators to foreground process, development, and context (Kwon, 2014). While case studies of monographic exhibitions abound (e.g., “The Complete Works of Damien Hirst”, Tate, 2015), systematic analyses of recurring full‑set programmes are scarce. emily18 full sets galleries 2013 2021

A co‑occurrence matrix (Figure 2) shows a strong overlap between “Ecology” and “Technology” from 2017 onward, indicating a growing interdisciplinary concern with techno‑ecology. While case studies of monographic exhibitions abound (e

During the 2020 virtual edition, 73 % of surveyed participants reported a “high” sense of presence, but only 41 % said the experience matched the “physical intensity” of earlier years. The 2021 hybrid model (physical exhibition + VR companion) achieved a balanced satisfaction score (4.2) and a 19 % increase in repeat visitation. The 2021 hybrid model (physical exhibition + VR