Simon Uzunovski was a key figure in the new art practice in Macedonia in the 1970s. In his conceptual projects, he abandons the artistic means of traditional art disciplines and uses solely fabricated everyday objects and materials. Until 1984, his art projects took place in spaces and environments outside of professional galleries or institutions. These projects were profiled as spatial and ambient associative installations or developed as processes of works in progress, for example, duct tape rolls that were gradually shaped over time to the level of “completion” decided by the artist. Perhaps the most significant modus operandi in Uzunovski’s conceptual approach was the social dimension in the performance of his projects through the active involvement of the audience in attendance, his colleagues and friends, in the development and the creation of the “works”. The audience active participation was the dominant credo of his permanent performative activism in the realization of the concept of an open work as a social event or happening, including aspects of artistic action, both topical and provocative also for the current culture and art situation.