• Francis Alÿs’s, Santiago Sierra’s, and Tania Bruguera´s artistic practices occupy an “in between” space, lodged between Western constructions and non-Western counter-narratives, active as a site for transcultural dialogues. Born in Belgium, Francis Alÿs moved to Mexico City in the late 1980s. Similarly, in the late 1990s, the Spanish artist Santiago Sierra also relocated to Mexico City. Inverting this migratory pattern (from North to South), in the late 1990s, Cuban artist Tania Bruguera migrated to the United States. These physical displacements, along with their ensuing cultural dislocations, have effectively exposed these three contemporary artists to different notions about the benefits and shortcomings of both the ideology of modernity and the historical construction of “The West”. This paper explores how these narratives have been debunked, appropriated and criticized by works such as Politics of Rehearsal (Alÿs), Jewels Collection (Sierra and Burés), and Cátedra Arte de Conducta (Bruguera). By paying close attention to each work’s contexts and conditions of possibility, I investigate how each articulates a complex process of three of the main tenets of modernity: the teleological orientation of time, the emancipatory role of art, and the separation between art and life.