Example of this pursued dialogue was the dining gathering at Kotzia Square, where Pakistani artist Rasheed Araeen set up a complex of tents to serve food free of charge twice a day for the first hundred people that showed up, hoping to bring together on an eating activity the international visitors of the art world and regular Atheneans. The sometimes intentionally obscure logic behind the disposition of the pieces around the city, the selection of the artists and the lack of written text pushed us as spectators to draw other sorts of intellectual connections between the pieces and their surroundings. A good example of this was the Conservatory, where music and sound was a recurrent place that threaded somehow a sort of coherence among pieces, which varied in their place and time of origin.
Another example of the dialogic nature of our experience was our assistance to a series of lectures that composed part of a workshop on the Athens School of Arts: This allowed us to see some part of the academic context, as guests but at the same time from within, and enabled some of us interested in performance to take part in workshops later on.
The dialogic basis of the exhibition makes it necessary to establish a comparison among the pieces in Athens and the ones that the artists presented in Kassel in order to see if there was a successful conversation among the cities, at least from the perspective of each artist. Another level of comparison than can be thought of lies in the relationship of the documenta with each of the two cities: With Athens, as a sort of intruding event, not very much acknowledged by the locals and with Kassel, of which it constitutes a central part of its identity.