Our attention, targeted by the hyperindustrial society (Bernard Stiegler) is the object of an economy (Yves Citton), and its modalities of capture take the form of strategies annihilating « (...) the processes of psychic and collective individuation that characterize the life of the mind. » (B. Stiegler). We will observe how contemporary artists, through their immersive art devices, capture our attention on these disruptive phenomena and strategies of de-individuation of the human being. In Tino Sehgal’s work, the capture of attention becomes a mode of creation that is quick to fill the space of the Palais de Tokyo with visual poetry, sound, and imaginary narratives. The spectator becomes a cog of an immense performative « machinery », driven by actors-performers to live different gratifying immersive experiences, tinged with inter-human relationships. For Maurizio Cattelan, the diversion of attention is used as a process to delay perception in order to, in the end, astound us and denounce genocidal policies. Trapping the spectator in the heart of a scripted white cube, while shocking consciences, in tantamount to alerting them to the dangers of the de-individuation produced by « a shadowless world, illuminated 24/7, devoid of otherness (...). » (Jonathan Crary). Finally, in the era of the Anthropocene, the societal disruption and the de-notisation planned by the cultural industry, a humanist alternative on the fringes of international speculative markets rehabilitates the psychic individual: the one of The New sponsors society. The spectator is established as a co-author of a piece based on « trust to get along and no longer by an act of authority. » (François Hers).