Situated and site-specific practices often involve participation in the production processes. In these cases, the participants become part of the work of art and thus enact both the role of producers and audience. Through the presentation of specific works of art as case studies, this talk inquires about the social scope of art production in situated practices. What are the implications of the inclusion of audience and place in the production of art? To what extent is video art coproduced in these instances? Do the production constraints define the hierarchies and/or rihzomes of the special and social relationships involved in the process?