The resources available and needed will inevitably have an impact on exposure decisions (for example. B, loans, installation strategies, publications, timing, etc.) taken by both the museum and the curator. A preliminary meeting of the exhibition`s budget is essential at the beginning of contract negotiations between an organizing museum and a guest curator. Budget details or a total cost area for the exhibition can be listed in the contract. Museums that will solicit exhibition proposals for which they wish to recruit a host curator should have a projected budget; Similarly, guest curators who address museums with an original proposal should be able to provide an overview of positions that affect the overall budget (. B for example, necessary research trips, quality or foreign loans, significant use of technology), but they should not be expected to generate an overall budget for the project. In addition to a cost estimate, it is also advisable that the contract include an interim production plan (see below) that describes the data to which different elements of the budget (e.g. B artist trips, expedition and chamberlain, publication, etc.) are defined. It is often desirable for a museum to travel an exhibition to one or more other places.
In addition to disseminating exhibition content and scholarships to a wider audience, the trip to several locations may be an opportunity for the organizing museum to cover shipping and loan costs or to find additional funds to support the catalogue or all exhibition costs. Ideally, the intention to look for alternative locations is clear at the beginning of contract negotiations with the host curator, and the host storyteller`s responsibilities regarding these additional locations can be defined at the beginning of the project. However, plans to visit an exhibition may develop after the project is underway and problems related to other locations could not be addressed in the guest conveyor contract. Since the trip to an exhibition involves both the dissemination of the intellectual work of a host curator and possible additional work for the host curator, the organizing museum should either ask for compensation for a visit under the original contract, or be prepared to reconsider the contract and adjust the remuneration if necessary when a visit develops. The contract may also indicate which party is responsible for clarifying and imputing the intellectual property rights of third parties for the documents and illustrations cited for the exhibition (for example. B wall labels or photographs), the accompanying catalogue (. B photographs or other illustrations) or educational material (. B for example, brochures, study guides, electronic media).