Engaging Infrastructure begins

. . . by considering art practices in which the aim has shifted from object making to creative participation in a social process:
illuminating and intervening in cultural systems of distribution, circulation, and exchange, as with Ben Kinmont's "We Both Belong";

analyzing institutional machinery in action, as with Andrea Fraser's "How to Provide an Artistic Service,"

or investigating the changing ways in which we administer daily life, as with Rachel Strickland's "Portable Effects,"

such work calls attention to the infrastructure that supports artistic practice and the workplace, as well as domestic and leisure space.

This 'dematerialization' of the art object, broached in the seventies, can perhaps more aptly be understood -- as the exhibition "The Materialization of Life" suggests -- as an emphatic rematerialization of the social fields in which art operates.