ABSTRACT
This chapter presents the history of photographic exhibitions a potential, valid keystone to understand the history of photography, its styles and its development. The photography curator invents, consciously or not, stories that are emotionally intense, reversing or complicating an experience akin to one that is cinematographic, seeking to transmit an intention into the space. Another track to be followed in the dissemination of photography: the projects that – by choosing a different field of use – try to create a particularly virtuous and all necessary relationship between the exhibition space and the photographic intervention. The chapter presents a critical reassessment of the changing role of photography theory in Higher Education. It shows how far photography education was changed by political engagement with the ideological functions of the medium across a range of institutional practices including art, commerce, journalism, and the academic field itself.
