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Education in art has always been an area of premeditated, wellguarded incompatibility; it is hardly explicable, local, tacit, embarrassed. Lateral. Not eloquent. It finds itself in a troubled position, especially in today’s world of the advanced Bologna process, strengthening compatibility amongst the educational systems within Europe. This compatibility is being devised for universities, but for sciences, not for art. Art schools involved in this process find themselves twice as confused and that is why we started inter}artes. It was organised by art teachers to reflect on our position, to prepare ourselves for change, to gain greater selfawareness and to speak with our own voice within these changes. We worked in four intertwining Strands. Two of them dealt mostly with standards and frameworks. The third Strand went another way, tracing vanishing or forgotten practices, reviving what is unique. The fourth Strand focused on the effects of education on graduates entering professional life.