Andreja Kulunčić sees art as exploration and process; in accordance with Kubler's theory of time that is flowing like fiber clusters, where each fiber can be an art style or movement, her creations in various media are often works in progress, stretching over several years and operating as a cluster archive (Foster's "archiving instinct" in art), filled with data inputted over the predetermined duration of the project. The medium/method of Andreja's discursive artistic work is borrowed from sociology and marketing, and inserted into the ordinary media flow, inviting the heterogeneous and voluntary audience to participate actively; its object of study is the political space (transition), the existential space (city) as the (urban) framework of life; "traditional urbanity" and the city of cultural consumption (Boyer); social relationships and social practice; conflicts within the relative security of the society. This artist sets up her own interdisciplinary networks, seeing artistic work as a process of cooperation (co-creation) and self-organization, often asking the audience actively to participate and "finish" the work, and exhibiting in a public space (which assumes web "movement"). Themselves-as-others in the sense of Otherness: the model of social injustice and the act of cultural resistance, "cultural capital" and "social capital", the reciprocal relationship between the individual and the social group (exploring cultural and sociopolitical manifestations of urban life) are the themes covered by Andreja's artistic work, understood as a form of social practice. In fact, art is no longer the background (screen) of action; it has become the social action itself.

Andreja chooses widely available mass media for the production of her user-friendly works of art: Closed Reality-Embryo (1999/2000), her Internet work at the web address http://embryo.inet.hr/, contains two parts. The first is an on-line game where two persons, not necessarily the male and female from the traditional mode of procreation, take turns at determining desired qualities, i.e. selecting samples from the "showcase" of genotypes (the qualities offered on the list), and virtually creating the fetus of their child. It enters the gallery of embryos as a piece of statistical data which is then compared with the desirable qualities representing the standard, the measure of "normal society". Firstly, on-line exhibitions can be visited without leaving the house; secondly, "in a sense, cyberspace is a colony necessary for the survival of western societies, just like the industrial societies needed the landscapes of remote countries" (Virilio). Genetic engineering and anthropo-technics are the points of departure of this project; its results (statistical analysis and interpretation of obtained data are an integral part of author's projects) have revealed that the "players" want "corrections": a future generation that is smarter, taller, more resistant to diseases and less aggressive. Few parents "endowed" their virtual offspring with inherited diseases or average intelligence and abilities. Interestingly, the human genome was mapped right after the project started, so fiction is turning into a possible reality (an actual possibility).

In the work called Nama – 1908 Employees, 15 Department Stores (2000), Andreja placed portraits of anonymous women in the usual poster advertising spots; at the time, those spots were a new marketing product in the public space of Zagreb. The portraits were three-quarter shots of Nama workers, middle-aged women in salesperson clothes, with their hair and face done to look like models. The project appeared at the time when the employees of Nama, a relic of a system of an undeveloped market economy, went on strike because of the fear of bankruptcy. The middle-aged workers who were let go, especially the women, would be left without a permanent or legal occupation and brought to a dramatically lower living standard. Nama's workers give us an imperious look from the posters that bear the title of the work of art, simulating bombastic advertising slogans and suggesting qualities like trust, security and stability, attracting numerous consumers to department stores with empty shelves. Photography as public art communicates with a non-gallery audience, the photographic medium embodies the culture of the image applied in a public urban space.

New York Art Scene for Dummies (2005 - ) is a work in progress, its title ironically alluding to the popular yellow-and-black handbooks: a series of interviews and questionnaires with New York curators, artists, art dealers, private galleries and the Croatian artists and curators who spent some time in New York opens the issue of the places of power in art today. Andreja analyzed the questionnaires and concluded that one can succeed only with a certain background: "if you are under 35, male, white, an art graduate from the University of Columbia and relatively affluent."

Andreja's most recent exhibition, a cross-section of her presentations abroad shown in Galerija Nova, includes a wider understanding of exhibitions: an artistic workshop, a two-hour "coffee with the artist" each Thursday (like the famous "coffees with President Mesić"), a public discussion called "Why is this art?", and a game with the prize pool of 10 thousand euros – the value of Andreja's works on the western market. The in-your-face cash equivalent makes the visitors realize that the exhibited works are objects with an actual market value and can be used as goods. We are reminded of the German art theorist Boris Groys, who saw artists as the avant-garde of marketing: it is easy to sell lingerie as everybody needs it, but an artist sells black squares even though nobody needs them…

In Teenage Pregnancy (2004), the pilot project of an aggressive marketing campaign in public space, judged by the organizers of the Liverpool Biennial as inappropriate meddling in local issues (by someone coming from the periphery), the artist refers to a site-specific problem: Britain has the highest statistical rate of teenage pregnancy in Europe because of lack of prevention and generous social programs. The artist proposed posters looking like attractive advertisements in women's magazines, which would approach the problem as an omission of the society, instead of a lack of awareness or care on the side of minors. In the project called Artist from..., realized for Manifesta 4 (the biennial exhibition of young European artists in Frankfurt am Main, 2002), Andreja was interested in the differences in earnings between artists from the West and the East, between male and female artists, as well as differences in lifestyle allowing them to create art. Before the exhibition was opened, the city was plastered with posters informing the passers-by of how much the artist on the poster (the participant in Manifesta 4) earned from his/her art in the previous year and of the "average" income in the artist's country of origin.

Raising the awareness of the social environment informs the work called Austrians Only (2005), which looks like the ordinary ads using marketing to glorify their subjects: jobs in cleaning, sex industry or construction. But a single detail has been changed – the applicants can only be Austrians with higher education. This small, provoking and somewhat offensive game puts Austrians in immigrants' shoes, offering them inadequate jobs or jobs with non-standard working conditions.

The Triennial of Photography in 2003 included Sight-Seeing, photographs with "a conceptual content" exhibited in front of the governmental building where the destiny of asylum seekers is decided, show sequences of the city chosen by the asylum seekers, who perceive the city as a big and unfamiliar waiting room – while their application is being considered, the asylum seekers are not allowed to work. Their perception of the city, of course, differs from the perception of the "official" citizens; they ramble in the periphery and dream of the unattainable institutions and life standard (university, family house, flower beds etc.). A Place Under the Sun was an art event (Urban Festival, 2004) on the Jarun Lake: on the basis of a survey of the "users" of the lake, the three maps of the lake were replaced with "new" categories: visitors' educational level, income, expenditure while on the lake, ownership of real estate etc. "I have lived near the lake for more than five years and watch almost every day how the lake and its surroundings are being used. What caught my eye was the change in socially "acceptable" codes of conduct (clothes, recreation, appearance) and the grouping of lake users according to their social status. Everything, including leisure, is bound with rules. We try to use our leisure time in a way acceptable to our social group."

Definitely Andreja's most complex work, another interdisciplinary and multimedia cooperation of an expert team, is called Distributive Justice (2001 – 2005) and can be seen at http://www.distributive-justice.com. The project includes two parts. The first, virtual part consists of on-line games where the participants (web site visitors) distribute tangible and intangible goods, building a "society" which changes dynamically. It also means looking for the real-world counterpart of the virtually created society, making a matrix of the most equitable society, and defining "justice" and its modes of realization. In the second part of the project, an on-line archive of processes was set up in the gallery premises where the visitors can sit on a "piece" (circularly arranged armchairs with intense primary colors) of the social "pie"; they symbolically "take" (or are "given") their share of the common good. The exhibition space is an active space, the gallery exhibition is conceptually expanded with lectures and public discussions. The discourse of truth in Andreja's works, even when they lack traditional artistic representation, have "nothing to show" or follow the principle of reversibility, is provoking, disturbing and exciting, as in Baudrillard's definition: "Obscenity starts when there is no spectacle any more, no stage, no theater, no illusion, when everything immediately becomes transparent, visible, exposed in the raw and merciless light of information and communication. Instead of participating in the drama of alienation, we enter the ecstasy of communication."