From the 1980s on, Suzanne Lacy staged numerous performances in which she assembled citizens of different social contexts in order for them to speak and act together in different settings and to explore alternative forms of gathering as a community, such as Whisper, the Waves, the Wind (1984), The Roof is on Fire (1994), Between the Door and the Street (2013) and many others. She labelled these works “new genre public art” (Lacy 1995, 2010). Different hybrid forms between social, political and theatrical practice have emerged over the last two decades, such as works by Rimini Protokoll (World Climate Conference, 2014, 100 % City, 2008-ongoing), Milo Rau/IIPM (The Kongo Tribunal, 2015) or geheimagentur (The Art of Being Many, 2014).