In this article we would like to investigate the essential concepts of Nicolas Bourriaud‘s Relational Aesthetics in order to determine the weaknesses and strengths of the wide range of critiques the book has received. Our purpose in addressing these critiques is to discover suggesting aspects of Bourriaud’s proposal that he himself might have missed. Thus, we intend not only to identify Bourriaud‘s theory’s weaknesses but also its potential to demarcate an aesthetic of the present that can understand and capture the vertiginous and also radical multiplicity of contemporary art.