This documenta was the first major international exhibition to establish a rigorous engagement with cultural theory and to insist on the necessity of post-colonial theory and cultural studies for an understanding of western and global visual culture. It was also the first documenta to extend the range of artists and artistic practices to a truly global level. Both positions are now, five years later, taken for granted.

This documenta developed a theoretical frame dealing with contemporary political and social issues through its series of conferences, dealing with issues of post-colonialism Urbanism in Africa, multiculturalism Creolit and Creolisation, the issues of truth and reconciliation in conflict resolution and the issue of democracy. Though planned well in advance, its agenda was uncannily reinforced by the events of 9/11.

Documenta11 Publications comprised the main catalogue, for which I wrote an essay; the short guide, for which I composed some individual entries; and a series of conference publications. I co-edited four of the publications and organised one of the conferences Creolit and Creolisation.

As part of a team of five co-curators and the artistic director, I was involved in all major curatorial decisions, not simply those concerning my particular specialism (moving image). The exhibition was seen by 800,000 people and was well reviewed.