The present proposal aims to interrogate the role "rhetorical production" (O'Neill, 2015) has played in contemporary art curating over the past decade, as reflected in curatorial scholarship and conveyed in curatorial practice. It refers not only to the rich array of discursive formats underpinning the rise of curatorial discourse --from talks and interviews to first-person narratives and biographical accounts-- but, also, to theoretical inquiries into the programmatic agenda of curating, which have increasingly considered this practice as a particular mode of speaking (Sheikh, 2007; Rogoff, 2013; Butler and Lehrer, 2016) and the curator as the main figure enabling a common space for speech in the sphere of contemporary art. Despite the prominence of curatorial discursive platforms during the last ten years, these have remained under-analysed and, with it, its impact on the process of biennalisation undergone by contemporary art, not least on the crucial themes debated therein, for instance, globalization, ecological crisis, decolonization, etc. Examining the curatorial sites generating rhetorical production becomes therefore a need if we want to understand the nexus between contemporary art, curating and global politics. Drawing on examples of curatorial practice where public speech is purportedly reconciling the singularity of the curator with community instantiation, I aim to reassess the pervasiveness of the curatorial voice to understand the role curatorial discourse has played in contemporary art during the last decade. My analysis intends to unpack how projects such as documenta 14's "methexic" radio, the Serpentine Marathons, or the exhibition "Acts of Voicing" have privileged speaking as a means to accomplish their curatorial purpose while bracing the discursive dimension of curating. The emergence of this rhetorical paradigm has corresponded to a series of notions which curating has incorporated into its field of inquiry; such as, responsibility and "responsiveness" (Butler and Athanasiou, 2013), performativity (Lind (ed.), 2012; Lind, 2007, 2010), durational processes (O'Neill and Doherty, 2011) as well as pedagogy (Graham et al., 2016). These reflections have also nurtured major curatorial approaches to the political, semiotic and libidinal economies that instantiate a community, the latter often labelled in curatorial discourse as constituency (Byrne (ed.), 2018). In and by enacting such constituencies, curatorial practice has privileged public speaking as the main vehicle conveying those moments of community. In initiatives such as KORO, Bergen Assembly or the Folkestone Triennial public address has operated both as the paradigm for disciplinary reflection on curating, being the curator who speaks, and as the main structure that constitutes the "community" (Christ et al., 2015). This ambivalence, which summarizes well the ultimate agenda biennales and analog initiatives are set out to accomplish, gives away the political stances implied in a notion of community that requires, to become such, a mediating instantiation -the curator's. Still more interesting is the nature itself of this kind of public speaking, both a prerequisite for and a result of assembling constituencies in the name of contemporary art, which is able to endow the same with genuine political status -usually making implicit that conventional forms of community lack political authenticity.