The conversation about the usefulness of institutional critique when the institutions themselves are inherently problematic struck me, and started me thinking about how the Tate's British Art Network (BAN) Emerging Curators Group could reflect on this.

With the increasing visibility of the Black Lives Matter movement in the past year, institutions in the art world have responded in different ways. Some promoted black squares on social media, voiced support and solidarity with the movement and others promised to increase the percentage of people of colour in their workforce.

Yaa Addae asks whether simply increasing the number of POC bodies in these spaces really makes a difference when the institutions exist in a system which is inherently colonial and inherently racist? The British Museum said in a statement from Director Hartwig Fischer: "We will work to diversify our own staff" and "We will broaden the diversity of voices present in the interpretation of objects in the collection". But how does this work when many objects in the museum were taken from the hands of people of colour as spoils of war in the colonial era?

As Addae said, "Inclusion is really something that is decades behind us, that's what my ancestors were fighting for. Now it's time to start fighting for overhaul." Perhaps this is a time for thinking about alternative institutions, moving away from these large establishments as the cultural signifiers and leaders, and looking towards other forms of groups that have race, class and other significant issues as their foundation.

As part of the BAN Emerging Curators Group, jointly run by the Tate and the Paul Mellon Centre, each of the 15 curators selected from across the UK will undertake a research project. For my project, I'm hoping to facilitate a real learning opportunity, resulting in conversation, debate and reflection. In collaboration with Clare Gormley, Head of Programmes & Partnerships at Belfast Photo Festival, we are aiming to investigate non-hierarchical, anti-racist, feminist-thinking models as alternatives to art institutions.

This is just the initial idea for the project, which will develop and progress as Clare and I work together. Throughout this time, I'll be reflecting on the inspiring and insightful words of Yaa Addae: Now it's time to start fighting for overhaul.

Listen to the Art History Babes Podcast here: https://www.arthistorybabes.com/the-podcast