Enter any contemporary art museum, gallery, or biennale in 2024 and chances are that the live arts will be center \u201cstage.\u201d While theater, dance, music, and performance art were historically presented in visual arts contexts as fringe or one-off events, since the turn of the twenty-first century\u2014and gaining momentum over the past decade\u2014there has been a growing tendency to \u201cexhibit\u201d live art. As choreographers, directors, and composers who have built their careers in the visual art world\u2014which is significantly more monied than the performing arts world\u2014take home major prizes and awards, leading museums are inaugurating spaces designed exclusively to house installation and performance. But architectural spaces are also ideological spaces with tacit value systems that influence conventions of performance and spectatorship, as well as perceptual experience. What happens when live arts are transplanted into the modernist project of the white cube, characterized as it is by its putative neutrality, objectivity, universality, disembodiment, and erasure of context (see O’Doherty [1976] 1999)? Today’s eventized museum showcases works of art characterized by durationality (they are circumscribed by time), corporeality (they feature live, gesturing bodies), and relationality (they foreground the intersubjective exchange) that engender new modes of what Nicolas Bourriaud (2002) called \u201crelational aesthetics.\u201d In so doing, these works challenge traditional definitions of the \u201ccollection,\u201d the \u201carchive,\u201d the \u201cmuseum,\u201d and even \u201ccontemporary art.\u201d<\/p>\n