I'm not consistent with this - my personal taste leans towards geometric abstract works, so I'm a massive fan of Bridget Riley, for instance. However, when you look at this stuff all day, there's probably artworks in every genre I'm incredibly fond of - I really like Atkinson Grimshaw's dock paintings, for example, and sometimes there's 400 year old religious paintings that are just incredible as objects in their own right.

This varies massively for different spaces/exhibitions. Some places will pretty much leave a pile of wrapped works in the gallery, let me in and say "you know what you're doing" and leave me to it - but more commonly, the venue curator will be making those decisions. Often they'll consult us about it. Sometimes they casually lay the works out round the room, and leave it to us to "rationalise the spacing".

When it's a touring/temporary exhibition, there's sometimes an assigned curator for the project - now sometimes it's still the venue's curator, sometimes it's the collection representative/artist and sometimes it's a separate 3rd party curator.

Sometimes it's more than one at the same time, and we have to mediate as they constantly disagree with each other.

It's not unheard of for one to be in Monday, make some decisions, and you hang half of the works, then on Tuesday, the other one comes in, makes you take half of it down and put it on another wall, then Wednesday, the first one is back in, and... etc etc.

Sometimes, the artist/representative etc, wants to have a say, but they don't really know what they're doing. This is mostly a problem with working with representatives from commercial galleries. In these cases, there's careful attempts to appease them, whilst still trying to persuade them to let you do things properly.

Thankfully, I'm fairly good at diffusing that sort of situation, and getting the decisions made and getting the show finished and up in time - which is probably why I get asked back again!

If there's a good reason to do so, go for it. I did a handful like this a few years ago - we fitted a few hidden fittings at the top edge, behind the work, so it was actually safe and secure, but it looked like it was "just leant there".

Fastener/Driver: I like a Torx head when available - but most commonly we use PZ2 screws, generally 3.5mm x 30mm. I tend to use a Makita 484 for light work, or a 486 for heavy work. Some works are "no power tools" (micro-vibrations can damage the work), so they go in with a Wera ratchet screwdriver. Fixed to the work, I prefer Springlock fixings.

Historic bulidings - This varies - normally if a place is regularly showing work, this has been sorted in advance (often years ago), but there are cases where we would have to build false stud walls in front of the existing walls - sometimes you're allowed to put a few holes in the original walls to hold the false walls up. You generally need a plan/diagram and long conversation first. Sometimes you need to invent fixing methods - I remember making some metal clamps with a sort of inert foam inner collar to clamp gently round some pillars which were on a "do not damage these at all" list. ** Mounting/fastening:** These are mostly down to style, weight and security (and cost). Sometimes the venue has a house style, or the artwork owner/lender can specify fittings, sometimes the curator has a preference, sometimes they ask me for recommendations.

A few common fitting types

Top left is part of a Ryman Link Hanger, used for heavy artworks. you put one on the wall, and one on the artwork, then a sort of T-bone shaped bit twists between the two. Generally used on very heavy things which need to be lifted with pneumatic machinery.

Right hand side are two sizes of mirror plates, which are pretty standard and very secure - for expensive works they're often used with security screws. The downside is that they're visible, and sometimes they're thought of like "ears sticking out".

On the left going downwards are a small Ryman hanger, a Springlock, a large Ryman hanger and a strap hanger. The ryman/springlocks are all invisible fixings - they go on the back of the work, and mount onto a screw you've already put in the wall, then a security plate slides in, to lock the screw into place. You generally need a special removal tool to take them off. They're popular with curators because they're not visible, they're relatively secure and they can be very quick to install. The strap hanger isn't used often, but can be attached to a hook, screw or a sort of security bracket.

In a domestic install (a house) it's far more common to use cord and a picture hanging hook or nail in most cases - though they can be easily knocked or stolen. If you're installing works in a corridor or staircase, or long term I'd probably lean towards mirror plates (if you can cope with the "ears"), or Springlocks (if you can get them in your country). You can paint out the mirror plates the same colour as the wall. Mirror plates are screwed in from the front (two screws into the work, one into the wall on each side), Springlocks are placed over a screw which is already on the wall.

Mirror plate £0.30 a pair
Springlock £2.00 a pair
Ryman Hanger £10.00 a pair

Installation: You can definitely tell a bad install. In theory, if I do my job well, you don't think about the fact that I must exist.

One main rule of thumb is "centre lines" - generally works in galleries are hung centre-aligned at somewhere from 135cm to 150cm from the floor. 150 used to be the most common hanging height, but things have drifted downwards in recent years, as a nod towards wheelchair accessibility etc. 135cm is considered very accessible, 150 is considered to often look best. 140 and 145 are compromises - and most things are hung at this height these days.

For spacing, generally the works are equally spaced on a wall (e.g. the gaps between works are the same), with an extra 10% - 20% gap added on the ends, especially in corners. Corners visually "pull the work into the corner" making the gap look smaller.

There's a lot of difference in taste and style regarding labels - whether they go next to each work individually, or whether they're put to one side, to not ruin the view of the work itself.

Curatorially, exhibitions are normally ordered and grouped carefully - now that depends on the content, for example, sometimes a specific work will only fit in one place - but otherwise, things tend to be deliberately placed. For example, a collection of works can be grouped in a narrative or chronology to be read clockwise around the room, or works of similar colour or theme would be grouped together. It's considered what is "within the same view", or what sits opposite, next to etc, what the lighting requirements of different works are.

Very few, if any. I'm generally working in publicly funded galleries, and the vast majority of the works have long and clear paper trails, insurance and permission before they go on display - they're normally either owned by the "permanent collection", or borrowed with a "loan agreement" from another gallery, collector or artist.

If you want stolen artworks, you need to look at auction houses, commercial galleries and wealthy people's houses :)

There's nothing super-gross that I've installed that I can think of immediately (I'll edit later if something spring to mind) - but there's certainly been quite a lot of things which were sexually bizarre - I remember a video work once by a French artist who's name I can't remember, which initially looked like dancing/moving abstract geometric patterns, but through the duration of the video, accompanied by the song "It's raining men", sort of zoomed out to reveal all the shapes were made from line drawings of urinating or ejaculating penises.