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Art that seeks to produce situations in which relations are formed among viewers is placed in historical and theoretical context in key writings by critics and artists. PARTICIPATION in art has become a prevalent and contested phenomenon since the 19902.
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Artists have increasingly sought to create situations and events that invite spectators to become active participants, in dialogue both with their context and with each other. This reader charts a historical lineage and theoretical framework for this tendency, presented through the writings of artists, curators and philosophers from the late 1950s to the present.