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In this space of coactivity, the term form takes on new meanings. How should one define it, beyond the famous classifications of Roger Caillois, who proposed that forms should be distinguished by how they are brought into being – growth, accident, will or molding? How should one describe the subset within which, in an exhibition, these different regimes interact? What I call exforme is a thing that is subject to a struggle between a center and a periphery, a form that has taken shape in a process of exclusion or inclusion – that is to say, any sign in transit between dissent and power, the excluded and the admitted, the object and waste, nature and culture. From Gustave Courbet's stone breakers to the pop aesthetic, from Edouard Manet’s portraits to Marcel Duchamp’s Fountain, the history of art is full of exformes. For the past two centuries, the ties between aesthetics and politics may be summarized as a series of inclusive and exclusive movements: on the one hand, a constantly repeated sharing between the signifier and the unsignifier in art, and on the other hand, the ideological boundaries drawn by biopolitics, the government of the human body. The ontology proposed by speculative realism brings with it new examples of exformes, and this is its major impact on contemporary art.