 The emergence of everyday aesthetics discourse parallels the increasing attempt at blurring the distinction between art and life in today’s artworld. Although there have been many examples throughout art history of depicting slices of everyday life, such as Dutch still life paintings, twentieth-century art introduced and experimented with different modes of appropriating everyday life, most famously with the use of ready-mades. Since then, artists have been trying to overcome the presumed separation between art and real life in a number of ways: rejecting the art institutional setting as a location for their art; denying the necessity of authorial authority; embracing various changes made to their works both by nature and human agency; blurring the creator/spectator dichotomy by collaborating with the general public to create art as a joint venture; changing the role of the artist from the creator/choreographer to a facilitator who provides an occasion or an event for things to happen; literally improving the environment and society by planting trees, cleaning a river, and playing the role of a social worker to promote a dialogue among people in conflict; and engaging in mundane activities like cooking and farming with tangible products for consumption. These attempts have given rise to a number of genres, including situationist art, conceptual art, environmental art, happening, performance, activist art, socially engaged art, and art projects characterized as embodying “relational aesthetics” or “dialogical aesthetics” (Kaprow 1993; Spaid 2002, 2012; Bourriaud 2002; Kester 2004, 2011; Dezeuze 2006; Johnstone 2008; Bishop 2012).