Ever since his first exhibition, Tino Sehgal has been studying accepted exhibition norms, while activating the bodies and voices of the interpreters in order to offer an alternative to accepted forms of artistic observation and reception. His intensive preoccupation with time and space creates a new metalanguage, while furthering the definition of art as object; in doing so, he expands upon and deepens the challenge facing postmodern art in recent decades. This is undoubtedly neither the first nor the last attempt to map the territory of modernism, yet Sehgal does so using a radical tactic. The work This Is Propaganda (2002) is a “structured situation” centered upon museum guards, who are activated by Sehgal and follow his instructions. Based on the assumption that every art work is, in a way, a form of propaganda, this work offers a paradigm for Sehgal’s way of creating something new while moving within accepted circles of production and consumption: an economy of actions rather than actions that serve an economy.