Considers a variety of examples in which curatorial practice intersects and blurs with interventionism in art, including using billboards as a medium for artistic interference in public space (Shaked), translating and re-activating Regina Galindo's activist performances (Carolin), analyzing the overlapping and divergent agendas of conceptual art and curatorial practice in Zagreb and Paris during the 1960s and 1970s (Bago), and the “re-possession of perception” through curating carnival and procession (Tancons).
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