ABSTRACT
Based on the artist’s Marcel Duchamp understanding that the public connects the artistic work with the outer world and, in doing so, contributes to its incorporation into Art History, this text seeks to outline the chain in which this reception act is inscribed. For this, it uses analysis from different fields, namely, Art, Philosophy, Semiology, Sociology, and Cultural Mediation. Mobilizing the concepts of “open work”, “art coefficient”, “aesthetic regime”, “distinction”, and “documentary mediation”, it pursues to verify both the possibilities and the limitations of a type of chain whose universality is relativized by sociocultural and class incongruities, which make the influence exercised by spectators in the directions taken by art markedly unequal.
Art History; Cultural Mediation; Spectators; Visual Arts