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I recall the days when my spell-checker believed that the word “curator” was a typo. And it wasn’t that long ago, either: the curator as a cultural phenomenon seem to have only shot to prominence over the past few decades.

An array of degrees, courses, workshops and conferences followed – fueling aspiring curators with the hopes of becoming the next Hans Ulrich Obrist or Okwui Enwezor.

This is bad news for the rom-com scriptwriter. The sweet Gallery Girl has barely found her feet attracting love interests with her vague, non-threatening career. Now who, really, is the mysterious Curator?

One reads about the 10-day, $1,900 per head training programme established by the Independent Curator International in the New York Times nowadays, as BBC airs a reality show aptly titled The Exhibitionist, with the top prize being curating half a room in the National Museum of Art, Cardiff.

Saatchi Online, the virtual arm of the enterprise, launched its latest gig “100 Curators 100 Days” on Thursday – an initiative inviting 100 curators from “the most prestigious museums and galleries around the world”, well, to state the obvious, to curate an “exhibition” with ten works from its online collection.

The works on Saatchi Online, often by emerging artists, are priced between $33 for a print and $13,000 for a Serra-sized installation. On the webpage, a small line of text seduces the punters: “Start discovering!” It’s as if saying, go on, you know you want to, you too can be a curator!

With a true experimental spirit, I embarked on the virtual curating.