The Vienna based collective known for participatory installations that blur sculpture, architecture, and performance. Beginning with Percutaneous Delights at MoMA PS1 in 1998 and continuing through The B Thing, Hase, and Vorm Fellows Attitude, the text analyses how humour, bodily presence, structural risk, and material decay function as operative strategies rather than theatrical gestures. Positioned within broader discussions of relational and participatory art, the article considers how absurdity becomes a method for destabilising institutional space and reconfiguring collective experience.