[22] She directed the institution until 1998 and focused on emerging international artists, multiculturalism, and feminist aesthetics,[23][24] for example, the long-term exhibition project Inside the Visible.

[25][26] At first the foundation was located in a textile factory; from 1988, it began organizing exhibitions across Kortrijk, including the historic buildings of the Beguinage.

Following shows included, among others, Patrick Corillon (1989), Tadashi Kawamata (1990), Guy Rombouts & Monica Droste (1990), Robin Winters (1990), James Casebere & Tony Oursler (1991–92), Waltercio Caldas (1991), David Lamelas (1992), Antoni Muntadas (1992), Ilya Kabakov & Ulo Sooster (1992), Everlyn Nicodemus (1992), Gabriel Orozco (1993), Nancy Spero & Bracha L. Ettinger (1994), and Andrea Robbins and Max Becher (1995).

The project was part of the memorial for the victims, and a museum intended to draw attention to battles for freedom throughout history planned in the immediate aftermath of the attacks and destruction of the World Trade Center.

Selected from the Tate Collection (2003);[34] Anna Maria Maiolino: A Life Line/Vida Afora (2002);[35] Bracha Lichtenberg Ettinger: Eurydice Series, and Between Street and Mirror: The Drawings of James Ensor[36] both in 2001; Untitled Passages by Henri Michaux[37] co-curated with Florian Rodari and The Prinzhorn Collection: Traces Upon the Wunderblock[38] in collaboration with Inge Jadi and Laurent Busine[39] both in 2000.

'[46] De Zegher's curatorial projects at the MSK include The Ladies of the Barok (2018); Geta Bratescu: A Studio of One's Own,[47] Parastou Forouhar, Written Room, EyeWitness: Francisco Goya & Farideh Lashai;[48] Simryn Gill, The hemi(cycle) of leaves and paper (2016);[49] Gerda Steiner & Jorg Lenzlinger, Metafloristiek,[50] Raaklijnen/Tangents/Tangentes, Eija-Liisa Ahtila, On foreign subjects, nature of miracles and possibilities of perception, Julia Margaret Cameron[51] in 2015; and Love Letters in War and Peace/Mona Hatoum: Close Quarters, Katrien Vermeire, Kreislauf,[52] Isabel & Alfredo Aquilizan, Lade (Project: Another Country) in 2014.

Under her directorship, de museum (re)installed its collection which opened to the public with the exhibition From Bosch to Tuymans, A Vivid Narrative (2017).

[54] It includes some juxtapositions of old and contemporary works by artists, such as, Luc Tuymans, Ria Verhaeghe, and Patrick Van Caeckenbergh, to integrate a more in-depth reading of the artworks.

[55][56] Due to the problems surrounding the collection, the museum board ordered an audit on the event and de Zegher was suspended pending this process.

[8] The city also announced that de Zegher remains subject to ongoing disciplinary proceedings, pending a possible definite dismissal.

'[66] In response to increasing cultural racism and conservatism in the 1990s, de Zegher curated the traveling exhibition Inside the Visible.

[68] De Zegher's exhibition Freeing the Line: Gego, Monika Grzymala, Eva Hesse, Karel Malich, Julie Mehretu, Ranjani Shettar, Joelle Tuerlinckx, Richard Tuttle, Marian Goodman Gallery, NY (2006) [69] brought together drawings by artists across generations and cultures.

Though emerging from different social and cultural backgrounds, the exhibition demonstrated that these artists' art practices showed striking and significant aesthetic and ethical convergences.

These artists' work displayed a shared sense of compassion for the 'Other', reflected in the attention to discarded pictures of unnamed people in newspapers and archival documents.

[74] The exhibition explored the radical transformation of drawing that began over a century ago and is a vital impulse in art today.

The exhibition's concept was to conceive of art as a way of activating a 'relational field' in which artists, things, and audiences could interact and create meaning together.

The exhibition was a critical reflection on different space-time structures, both in the context of economic overproduction, ecological disasters, and harmful technologies.

As is explained and illustrated in the book of the same title, the entire project suggests that this engagement and relation are required for the development of new thinking.