...interventionist art

Interventionist art is concerned with either entering into a dialogue with a pre-existing art piece, or engaging with a situation outside of the art world in order to raise awareness/effect change, and often functions subversivly. It is commonly considered under the umbrella of conceptual art and often manifests itself in the form of performance.

Intervention art is fully recognised as a valid form of art, although interventions which go unsanctioned raise issues of vandalism and a discourse of the distinction between art/vandalism;

"By definition it (Interventionist art) is a challenge, or at the very least a comment, related to the earlier work or the theme of that work, or to the expectations of a particular audience, and more likely to fulfil that function to its full potential when it is unilateral, although in these instances, it is almost certain that it will be viewed by authorities as unwelcome, if not vandalism, and not art." (http://wapedia.mobi/en/Art_intervention)

Can we view Interventionist Art as being directly informed by/a product of Situationism?

I think that this possibility is distincly obvious, the fundamental core of Situationism was the construction of situations

...engagement of space; Sarah Pierce and The Metropolitan Complex

The Metropolitan Complex is a project developed by Sarah Pierce, as stated on the website it 'uses archives, exhibitions and papers - often opening up these structures to the personal and the incidental'. The purpose being that 'work happens through slippages between here and there, and despite at times obscure patterns of communication, every situation begins with an invitation'.

'The Metropolitan Complex' is a term used by Pierce to collectively describe her art practise. She sees it as “a way to play with the hang-ups (read 'complex' in the Freudian sense) that surround cultural work.” Pierce uses institutional as well as personal, incidental and coincidental, methods of organisation to explore the cultural as well as being 'designed to highlight the potential for dissent and self-determination within such structures' (http://www.ica.org.uk/17749.twl).

In relation to traditional approaches to curating art - it is not that these are inadequate, rather that they need to be recontextualised, to consider the curating displays.

In the 2007 piece for The Metropolitan complex by