Installation art first appeared in the 1960s. As new media art, it received a negative reception from established modernist critics and theorists - Michael Fried characterizes it as an overtly performative practice. However, it soon became a popular form of fine art, precisely because of the performative role it has in the visitor, which serves as a counterweight to the highly modernist Greenbergian art practice. Installation discourse emerges at the ontological turn, which initiates postmodernism out of modernism. With an intersubjective understanding of the viewer's experience, the theory of installation art is almost entirely subject to phenomenological interpretation, and on top of that, the role of the visitor can be understood as primarily performative. Today, installation is one of the most established art forms, and the term is often misused. The definition of the installation must remain sufficiently open at the same time, but not too broad. It is distinctly spatially based, but at the same time dependent on each individual visitor. The activation of the installation visitor was already defined by Claire Bishop, later Anne Ring Petersen upgraded her definition of the installation with the concept of performativity. As today's dominant artistic expression, installation has developed over the past fifty years, and installation discourse has also developed in accordance with the development of installation art. Both the artistic form and the discourse are not finalized creations, so the development will continue, which will require further theoretical study of the changes occurring in the visual arts.
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