This paper tries to analyze and discuss the socio-spatial shifts in the development of contemporary art practices in Istanbul over the past thirty years. After the military intervention in 1980’s the socio-political and cultural transformations have affected concepts and contents of art but infrastructure of contemporary art scene was barren and artists were looking to break free of the traditional space of the galleries. In 1987 the first Istanbul Biennial organized under the theme “Contemporary Arts in Traditional Spaces”. These traditional spaces were St. Irene Church, Yerebatan Cistern, St. Sophia Church and many others located in the historical peninsula of the city. In the following Biennales and other group or solo shows of the artists these venues remained the same. Yerebatan cistern has been used by numerous artists by now; there are only a few which have left an impact on common memory. The first impression of animation, shadow, changing colors and sounds is pleasant but all these works use the cistern as a background and not as the reason for the work. Since the very beginning of the 2000’s Istanbul’s contemporary art scene has been under questioning the usage of historical sites. The most praised work of Mike Nelson “The Point Where Heat Stood” which took place in an old gilding atelier of the 16th century Büyük Valide Han for the 8th Istanbul Biennial summarizes the hot debates of the time. Art was shifting from spatial practices to relational practices from reacting to spaces to reacting contexts. Since then contemporary art practice in Istanbul put itself at the heart of the urban flux. The final part of the paper will discuss the last year’s 13^th biennale and Gezi Park resistance as a public and political forum.