First, after the war, western countries built a large number of exhibition spaces, such as art galleries, art galleries, art centers, etc., but their own permanent curators or directors could not plan enough quantity and quality art exhibitions to fill the space due to the limitation of funds, energy and knowledge. Independent curators with profound research and practical experience in some art fields (especially the latest trend of contemporary art) came into being.
Second, many western cities compete to hold large-scale contemporary art activities such as biennials, triennials and literary exhibitions, so as to enhance the cultural taste of cities and stimulate tourism. These exhibitions are often held, constantly changing the theme, advocating innovation, attracting many independent curators to participate.
Thirdly, because most art galleries, galleries and art centers do not have the position of curators of contemporary art, some professionals who study contemporary art and are interested in curating will naturally become independent curators, and the mature foundation system and social sponsorship system in western society also provide them with stable sources of funds and living security.
Fourthly, due to more and more opportunities from the outside world, independent curators enjoy more freedom and independence, which leads to the transformation of permanent curators of some art institutions into independent curators. Since the 1980s, with the wave of economic globalization, cultural and artistic exchanges between the East and the West have become increasingly frequent, and the western independent curator system has also begun to rise in Asian countries and regions. Many local independent curators have emerged in Hong Kong and Taiwan in Japan, South Korea and China, and they are playing an increasingly important role in local social and cultural life.