The modes of ‘spectatorial address’ that Groot Nibbelink focuses on in the context of immersive theatre have also been important in the branch of art historical research called aesthetics of reception. One of the main representatives of this analytical perspective in German art history is Wolfgang Kemp. Installation art has been regarded as an art form that has assigned the viewer a new, more active role. This active role is not merely understood as interactivity but reflects the aesthetic practice of watching itself. The notion of installation art has transformed implicit modes of art reception into a technical constellation in space, a specific spatialised art form that cannot be perceived in a conventional manner. Institutional critique can be concerned with the ‘institution’ of art itself, in the sense that the very notion of art and its normative parameters are questioned; it can also be concerned with art institutions that determine art reception, primarily the museum.