One of the most dramatic changes in the art world during the last decade has undoubtedly been the inclusion of practices never intended to be seen as art, but in the light of different recent developments suddenly makes perfect sense within the institutions, markets and history of art. Some cases in point would be the inclusion of projects like those of Erkki Kurenniemi, Anton Zeilinger or Korbinian Aigner in the Documenta 13 (2012) or the even more extra-artistically inclusive Biennale di Venezia of 2013, but can be observed in the vast majority of any major trend-mapping exhibition of the 21st century.