Since the 18th century, there has been a great change in terms of form and meaning in terms of art, both from the viewer's point of view and from the point of view of exhibition space. In this process, the artists who interacted with various aesthetic, political and social phenomena, events or situations developed an exhibition aesthetic that opened to the Saloon, the White Cube and finally the Outer Space. In the source of the idea of increasing the external space of art in such a way, undoubtedly there is a state of social mobility that embraces the qualities of publicity, collective production, relationship in this century. In the field of interaction with these qualities, art has been interested in the perception of the city and public space and with the attendance of the viewer , as never before in the last thirty or forty years, the space is regarded as a fundamental element of the artwork and is considered to carry the power of influencing the art, the artist and the spectator. But art may be exposed to globalization, multicultural policies and direct or indirect effects of the current government about where the exhition will take place in such a transformation and change process. This situation is able to create a contradictory situation regarding the viewer's participation in the artistic process. Because, while a participant / viewer / artist is valued on the one hand, it is labeled as another on the other hand in people’s mind. For this reason, in this paper has been evaluated changing display formats for the purpose of liberating artists and integrating art with life and society, becoming the space as a parameters of the art creating an alternative through the works of artists for the other.
Keywords: Other, Public Space, art, participation, relational aesthetics.