to the radical revolutionary, for whom, precisely, there is no big Other: whose actions are forged out of an understanding of the contingency of the present. What would it mean to manage without the reassurances of some big Other: without guarantees, without legitimation, without compensation, without anything? A radical critique of the limitations of art must impugn the divisions between art, artist, curator and public: remove the conditions that make certain things seem impossible within a particular practice. Radical agency is self-transformation. In art, the most pervasive form of the big Other is the idea of Art itself. The idea of the public can be another form of guarantee for artist or curator: a constituency to which to turn, explicitly or implicitly, for validation. What, I want to ask, would it mean to think of art practice as the search for collaborators rather than as the search for an audience?