SHALL WE DANCE? The Spectator as Artist

This is an article about an artist who recently had a show at the Serpentine in London.
This presents a new perception of 'art'. Is the viewer then an essential component of the work of the artist?
Tomkins, Calvin (2005),Shall We Dance, The Spectator as artist: in The New Yorker, October 17, 2005, pp 82-95 New York, The Conde Nast Publications.
The work of Rirkrit Tiravanija , winner of the 2004 Hugo Boss Prize, an award for significant achievement in contemporary art.
Show at: Guggenheim Museum, N.Y. where he built a low-power television station to “demonstrate how individuals can be active contributors to their own media culture, rather than mere consumers of it.” The film being broadcast over the closed-circuit monitor wa a nineteen-seventies fictional documentary called “Punishment Park”; it showed American antiwar protesters being brutalized and even shot by police.
A Tiravanija retrospective has been mounted in Chiang Mai, Rotterdam, Paris and London [Serpentine Gallery, July 2005] also, Cologne, 1996 and NY, 1999.
Rikrit wanted to go beyond Duchamp and Beuys.
His many jobs included driving a truck for an art mover [which he turned into an art gallery on weekends], also worked for a number of small galleries installing exhibitions.
In 1989, at his first show he cooked a Thai meal [curry] in a group show.
At his first solo exhibition 1990 at the Paula Allen Gallery on Broadway…called Untitled 1990 (Pad Thai)
His second show was called “Untitled 1990(Blind)”. a voice-activated tape recorder, a pair of binoculars on the windowsill and a floor strewn with discarded envelopes containing audiocassettes that Rirkrit had recorded; viewers could make use of these items or not.