In this chapter I focus on how contemporary art practitioners engage with notions of epistemic disobedience and the production of knowledge, both responding to, and generating theoretical insights for, a corpus of theoretical discourse. I argue that contemporary art theory and practice is assuming an ever more important role in the configuration and reconfiguration of the Global South platform. The emphasis that this platform places upon knowledge generation means that artists working from within this paradigm encounter and respond to an entirely different notion of ‘participation’ than that articulated by Claire Bishop (2004, 2006, 2012) or Nicolas Bourriaud (2002). I further argue that what characterizes and shapes these processes is their location: marginal to the apparel of mainstream academia, and positioned at the porous frontier of institutional and non-institutional contemporary art spaces, these practices occur instead from within a skein of networks and hierarchies deriving from multiple modes of life. And it is this crossing of axes – the horizontal and the vertical, the mercantile and the post material, the ephemeral and the utopian – that renders such re-signification, participation, and production of knowledge entirely unique.