His work could be posited as the flip side to Bourriaud’s ‘micro-utopias’ the dark side of relational aesthetics, or micro-dystopias perhaps. He destabilizes the very idea of collaboration as something that offers real social utility in contradistinction to the autonomous art object. Artist thus delivers what could be described as a critique of collaborative, or what Kester terms ‘dialogic’, practices, by simultaneously ‘maximising the creative potential of a given constituency’ and subjecting that constituency to sustained critical scrutiny. This critical scrutiny doesn’t simply undermine authority of that constituency or parody its function, but rather defines the limits of or possibilities for meaningful collaboration per se. Deconstructing the very notion of collaborative activity can reveal as much about the limits of current art education in the UK as it can about the processes of co-optation of art and culture by state controlled public sector bodies and global corporations.
http://www.artandresearch.org.uk/v2n1/kidner.html