Since the 1990s, critics and curators have broadly accepted the notion that Participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations.
Artificial Hells is the first hist.
Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.
Since the 1990s, critics and curators have broadly accepted the notion that Participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations