因創意產業的興起，如何解釋文化價值此問題顯得比以往更為重要。過去 十年來，方法學、測量和新術語的設計，為文化產業迫切尋求的決策議題。 相對的，文化倡導者也強力指出某些重新制定的傳統經濟工具之不足。儘 管關於此問題還沒有個令人安心的共識，對於文化和藝術經濟學家的工作， David Thorsby 和 Arjo Klamer respectively撇開傳統經濟學，為文化 生產的步驟，提供了一個的新框架。在不妥協於經濟邏輯的情形下，尋求 一個替代性的文化價值評估技術。 從物價穩定措施的應變工作過程中，新的突破點已經來到 (see CARNWATH, J. D., & BROWN, A. S. (2014).)，舉例來說，在理解價值相 互影響的文化生產過程中，其可能會提供一個實現文化價值的窗口。參與 這一實證研究的號召，本研究提出了在有意義的情況下，策展人在藝術家 和經理人間，擔任一個混合性質的角色，並試圖去描述當代藝術策展人在 策展的過程中，如何承受物價穩定措施。

The question of how to account for cultural value appears to be ever more present since the rise of the creative industries. Over the past decade, the design of methodologies, measurements and new terms has become a pressing agenda that seeks to inform the decisions that are made for the cultural sector. Accordingly, some have readily refashioned traditional economic tools while cultural advocates have directed their efforts to highlight the insufficiency of such approaches. Whilst consensus on the subject might not come at ease, the work of cultural and art economists, David Thorsby and Arjo Klamer respectively, provides a new framework for the understanding of cultural production that steps aside from traditional economics, on the pursuit of alternative evaluation techniques that don’t compromise cultural values under economic logics.

From this strain of work, new gaps have come about as is the case of the process of valorization (Carnwath & Brown, 2014) , i.e., the understanding of the interplay of values within processes of cultural production and how it might provide a window into the realization of cultural values. Attending to this call for empirical research, the present study poses the role of the curator as a meaningful case given her hybrid nature between artist and manager, and seeks to describe the process of valorization that contemporary art curators undertake for curatorial projects.

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