‘Think the impossible’ is a central mantra down Serpentine Galleries way – one appended equally to exhibition-making and fundraising. For Peyton-Jones, this next year will be her 25th at the helm of the once-humble Hyde Park institution. Her appearance on the society pages alongside Pharrell Williams and other Serpentine partygoers has long been de rigueur, but as a finalist for the 2015 Veuve Clicquot Business Woman Award, Peyton-Jones has been explaining how annual visitor figures reached almost a million across the Serpentine’s two galleries in 2014, and how 85 percent of their £7m turnover is raised from private sources.

Codirector Obrist is, as ever, ubiquitous: outlining the ‘Museum of the Future’ in Doha; touring 15 Rooms to Shanghai; winning the International Folkwang Prize in Essen. ‘In a sense Obrist is a human aggregator,’ wrote Hal Foster, reviewing Obrist’s Ways of Curating in the London Review of Books, ‘almost a social-media-in-person or a hive-mind of one.’ As might be expected, Ways of Curating is but one of 17-odd books authored or coauthored by the hyperactive uber-curator this year – and his river of published interviews and conversation is in turn cited in dozens of other publications. Obrist’s 103,000 Instagram followers chart his ceaseless travel through the location of celebrity contributors to his Post-it notes project – Orhan Pamuk in Istanbul; Olafur Eliasson in Copenhagen; Bret Easton Ellis, John Baldessari and Miranda July in LA – such that it is sometimes easy to forget his ties to an institutional ‘home’.