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The following interview was organized and coordinated by Sylvie Mokhtari on Thursday 14 March 2019 in the ACA seminar room, and transcribed by Jelena Le Magoarou and Louise Quentel.Going back over the 30-year existence of the Archives de la critique d'art (ACA) invites us, above all, to have clearer thoughts about the ACA's future: re-organizing the social uses 1 of the archives, while bearing in mind the latest artistic developments, as well as any changes in the critical discourse, in its various forms, and where exactly they are occurring; improving international networking; and identifying technological challenges in order to adapt to new forms of memory.While the creation of the ACA coincided with the fall of the Iron Curtain, the 2020 launch of a scientific partnership with the German Centre for Art History [Deutsches Forum für Kunstgeschichte] in Paris will encourage us to define critical writings in the former "East bloc" countries.At publishing level, extremely interesting projects are taking shape with the INHA [National Institute of Art History].Hitherto the written word has been especially promoted, but it has latterly become vital to also consider the place of the image, that other form of critical discourse, which will feature among our structural lines of thinking for the next few years.Antje Kramer-Mallordy Note :1.-The ACA was created on the basis of the uses likely to be made of its resources and programmes by many different interlocutors (researchers, artists, critics, curators, journalists, institutions, publishers, teachers, students, and so on).According to Jean-Marc Poinsot, the idea of social uses makes it possible to expand our methods of action The ACA Adventure: a Thirty-year Commitment to Art Criticism Critique d'art, 52 | Printemps/été
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