In this ﬁnal chapter I will use the language and notions that I have established in the previous chapters to examine examples of practice that are initially provocative because of their radical innovation and subsequently become familiar, established and thus, in turn, a target for provocation themselves. As such they follow on from the processes suggested in the examination of Bassi, Baron Cohen and Banksy, in which the structures they have found it necessary to establish and the recognition they have attained begin to reduce their outsider status. With the three artists already discussed, although there are minor suggestions of their new liminal centres being challenged (Banksy by Robbo, and Bassi in the Radical Hits project), the process is less visible than in the following examples. The ﬁrst example is a single event within one theatrical performance and this serves as an introduction to the second, much wider example, involving the evolution of contemporary circus. These examples aim to demonstrate a fractal link between individuals working within a sector of performing arts and the entire sector (a cluster of centres) working within wider society. The introductory example of practice is not from my own practice and the main body of the chapter is not about the work of an individual artist but about many diﬀerent companies.