Looking back at the year 1960 and after, it is seen that, not only the forms of creating and exhibiting art were undergone a significant change, but also the existence of the object of art started to be questioned. In this period, during which artists brought their creative conditions into question, a perception closely linked with the spectator and location was brought forth, which could be dealt with as an alternative in place of the traditional drawing and sculpturing disciplines.  New opportunities of expression, such as location arrangement, performance, and installation, bear the traces of not only the attempts to surpass the perception and description opportunities of the art, but also those of the deep-seated social transformation.

Post-1960 years draw the attention for being a period, throughout which not only the artist was bringing the concepts of the form and function of the art over the object of the art, but also the gallery location phenomenon was started to be questioned, and reversed. While opinions and applications, being alternative to the concept of the location for creating and exhibiting the work, were performed, spectators of art were inevitably influenced by the ongoing period. Spectator was thereafter forced to abandon his/her traditional role where he/she came across the work of art.   

The work, which has declared its autonomy, the spectator, who has become liberated, and the artist, with his/her attitude, questioning and criticizing also the sovereign order of the art market, are also the symbols of the opposition against the established order. The object of art, which implies not having the temporary one bought and sold, also constitutes the rejection of its traditional context. Location-work-spectator trilogy has now become an ideological problematique of existance.

In this proclamation, the emplacements, performances, and formations, having been created after 1960, will be examined over the trilogy of location-work-spectator by way of literature review, and it will thereby be attempted to determine the changing art image.