This study examines a fundamental paradigm shift in the ontological ground of contemporary art: the transformation of the artwork from a static, finished object into a dynamic and continuous dialogue established with the viewer. The primary focus of the research is the viewer's departure from a traditional passive position to become an "active subject" and "co-creator" in the construction of the artistic process. Within the theoretical framework, Nicolas Bourriaud’s concept of "Relational Aesthetics," which centers on social interaction; Claire Bishop’s critique of "Antagonism," which emphasizes tension and conflict within these interactions; and Jacques Rancière’s theory of the "Emancipated Spectator," which rejects hierarchies, are discussed through a dialectical perspective. The practical transformation in plastic arts is analyzed through dematerialization, experience-oriented approaches, and Umberto Eco’s concept of the "Open Work," investigating the evolution of the artist’s role from a "singular genius" to a "process facilitator."

Furthermore, the study addresses the digital and virtual dimensions of participation alongside the rise of the network society, AI integration, and connections established with ecological activism. In this context, the network installations of Tomas Saraceno questioning connectivity, the performances of Marina Abramović based on presence and silent interaction, and the artificial intelligence works of Refik Anadol which transform data and machine memory into a collective experience are examined using the case study method. In conclusion, while highlighting the potential of participatory art for social change and democratic dialogue, the study aims to provide a critical awareness against the risk of artistic essence becoming superficialized within the entertainment industry.