In Author and Institution, the importance of a white cube or the absence of one surrounding/accompanying the installation was heavily discussed. The relationship between the artist and the institution became an aspect of the art installation or project itself. More often then ever, the concept of fusing the exhibition with the space at which it is shown is growing in popularity.

Works such as Streuli's "Billboard Sydney" placed portrait images of city-life individuals along a city scape and instead of having a white box around it, the geometric buildings against the sky accompanied the images. By doing this, Streuli was able to further acknowledge and incorporate the city life to be a part of his installation. By removing the white box around the panoramic portraits, the atmosphere of the city aided the exhibition in taking new shape. In Luchezar Boyadjievs "Gazebo, four cinema chairs were strategically facing a vast field and a city in the distance. In this instance, the sky, field, city, and outdoor weather has all become a part of the experience for the audience. Christo and Jean-Claudes "Wrapped Reichstag" was a public affair, stunning the entire country of Germany politically and aesthetically. The spectacle of a public space being utilized as art space seems to have the possibility of having greater effect then if contained in a white box. In exemplary installations such as these, the removal of the white box has turned the already pre-existing surroundings to be as significant as the art exhibition they hold.

Conversely, the white box can be utilized in a different manner, as shown by artists like Elmgreen & Dragset, who literally deconstructed and reiterated the plain white box to express the powerlessness and flexibility of these structures. They played out the notion that white walls do not have to carry the kind of transcendental significance they were once assigned to. The white box can also be manipulated by light, as shown in Martin Creeds "The Lights Off" which parodied the white space by simply removing the aspect of light. The spectator's gaze is directed through the light of a doorway which shows the sales certificate of rent on the gallery wall. Between these exhibitions and installations, this brought to question the following:

How can you activate a white box to become something more then a white box? Are the walls, ceiling, and floor what create the white box, or is it the absence/presence of what is inside? What happens when you put a white box in a place where it shouldn't be (e.g. Prison, public restroom, in the middle of a street, sidewalks)? Why would a white box be inappropriate?