If you were to take an overview of the most important critical artistic practices from the mid-1990s onwards and the attempts by art theory to analyse them, forgetting both the most applause-hungry provo artists such as Damian Hirst, whose critique of the art institution is almost non-existent, and spectacular, willingly instrumental creative city artists such as Olafur Eliasson, I think we would have to distinguish four overlapping practices: relational aesthetics, institutional critique, socially engaged art and tactical media. It is evident, of course, that we are trying to account for phenomena whose identities are in no way fixed but are in movement, and that, for in-
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