In 1999 she took on the leadership of the newly created Henry Moore Institute and devised an innovative programme combining collections, research and exhibitions.

[3] Here, Curtis notably supervised the development of the archive collections of sculptors' papers as well as the acquisition of significant works by Rodin, Epstein and Calder, among many others.

As well as presenting solo shows of contemporary artists the Institute became known for thematic exhibitions examining material and cultural histories, including 'Bronze', 'The Colour of Sculpture', 'Depth of Field' and 'Wonder'.

She worked with architects Caruso St John on the Millbank project and oversaw the acclaimed new hang, entitled a 'Walk through British Art', and the related Spotlight galleries, each with a different focus on the collection.

As the first non-Portuguese Director of the Calouste Gulbenkian Museum she worked to increase its international profile, while creating dialogues between the Middle Eastern collections, contemporary artists, and new audiences.

[6] Commenting on her reasons for moving to Lisbon, Curtis said that she was attracted by the 'Gulbenkian's exceptional architecture, landscaped setting and museography', which led to her exhibition and catalogue 'Art on Display' (2019).

Its smaller scale than the Tate makes it easier to effect changes, even if the Gulbenkian Foundation occupies an almost governmental position within Portuguese society.

[7] Responding to the fact that a small number of male art critics took against her in London, Curtis commented that 'Nick Serota and other people saw it as misogyny'.