ABSTRACT
This chapter focuses on the relational quality of craft, which forms communities and allows visitors to interact by not only challenging, but also changing the paradigm of the exhibition from passive to active and from neutral to engaged. It includes the notions of relationality, affect, performativity, and sens-escape to facilitate the understanding of the mechanisms at work in the projects. The chapter describes two performances that resonated with the issues of feminism, handcraft, and the notions of inclusion and exclusion of crafting women in the institutional exhibitions of art in the twenty-first century. It discusses several exhibitions that challenge and perhaps invert the notion of White Cube by introducing the four considerations. In essence, these exhibitions offer an alternative to neutral modernist display, while, at the same time, staying inside it and, therefore, not turning into a public art project/action.
