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In this article I analyse the notion that social movement politics and contemporary art interventions increasingly traverse a porous boundary, be it in terms of practices, relations, or institutions. Premised on Nicolas Bourriaud's seminal reading of 1990s art, I contend that the theory of "relational aesthetics" (2002) offers a synthetic platform from which we can understand how artistic interventions with activist connotations are increasingly moving away from the utopian and prescriptive,doi:10.4000/cadernosaa.1035 fatcat:lfgi4lzxufc3pbpyhds2eq6nx4