Before and After Science aims to randomly select a number of works from any given art collection and display them in random order. Although simple, the concept calls into question what is understood as the work of a curator. Also, it justifies that a collection finds its own character, its underlying narrative, all of which within its cultural environment. In addition to the queries regarding what it is to conceive exhibition narratives, the project invigorates what is irrevocable in the arts: an evasion of the canon. More importantly, when a collection is to be examined through chance operations, the impossible avoidance of a conceptual line, before or after the selection of the pieces, is revealed. What I mean to say is that, with or without the common tasks of a curator,  there is always an underlying concept that will come to the surface of meaning, pre-existent or in the aftermath, and, like in the most intuitive artworks, the intentionality or awareness of the artist, or its absence, does not make whatever a posteriori reading, meaning or ideal less valid and/or true. It explicitly imparts and interrogates what is key to exhibition-making, functioning as that which lies before and after science: before and after the analytical comprehension of works. Like in Deleuze and Guattari’s ‘pre-philosophical understanding’ required of non-philosophy’, the exhibition aims to confront the preanalytical state of exhibition-making.