In my paper I will discuss the ways in which art encounters (witnesses) political transformations. The initial objective of my paper is to analyze the incorporation of political contingencies as extrinsic material to art systems. I will discuss how contemporary art reacted to 'Occupy!' movement. As an alternative, non-violent form of direct action against global economic inequality, Occupy!, with its political contingencies had a visible influence to political theory in general (Jodi Dean, Slavoj Zizek, Naomi Klein, Barbara Epstein, etc.). My aim is to show how this political contingency transformed the conceptualisation of art. The starting point is incorporation of Occupy! to two international art events; the 7th Berlin Biennial and Documenta XIII in 2012. This led to formation of special fraction of Occupy! labeling itself as 'Occupy Museums'. This incorporation of actual political movement into art institutions made explicit several contradictions surrounding the politicization of art which Occupy Museums set to discuss from the heuristic point of view. This heurism in the case of Occupy Museums was not only related to institutionalization of political dissent; but as well to transformation of concepts of politics during this aestheticization. In my paper I will deal with the heurism, or intelligibility of art and politics -encounter by asking what art learns from political contingencies? In order to formalize this intelligibility explicitly within the field of art I will reflect on recent production of Martha Rosler and Hito Steyerl who, in their artistic works and theoretical writing, have dealt with the issue of Occupy!. Also I will refer to the special issue “Occupy Wall Street” by theoretical journal October. As a conclusion, by discussing the question of violence, I will speculate on the thesis that conceptualisations of contingencies have distinctive forms in art and in politics.
