Consideration of Nicolas Bourriaud ‘s curatorial practices is extremely important both for understanding the contemporary trends within the exhibition practices and for getting acquainted with the critical issues within the cultural landscape of contemporary art. Starting from early influence to triennial exhibition "Altermodern" (2009) held in London, this paper seeks to determine the extent to which Bourriaud combines his theoretical and curatorial work. Bourriaud's early formation was primarily influenced by retrospective exhibition Yves Klein (1983) and the exhibition "Magiciens de la terre" (1989) held in Paris. In the early 90s Bourriaud is already working as a correspondent for a number of magazines while his friendship with Eric Troncy results with founding „Documents sur l'art " magazine in 1992. The exhibition "Traffic" (1996), together with a relatively short series of essays entitled "Relational Aesthetics" (1998), attracted a lot of criticism and opened up a discursive territory as a result of Bourriaud's claims that he isolated a new aesthetic movement in contemporary art as well as a critical language which to use to decode it. His second book, "Post-production" (2001) deals with the same artistic scene but from different point of view while re-examining the concept of the exhibition space itself at the same time. From 2000 to 2006, along with Jérôme Sans, Bourriaud founded the Palais de Tokyo where he acted as a manager and curator of exhibitions such as "GNS'" (2003) and "Notre histoire ..." (2006). Bourriaud writing and theoretical activities are continued through his book „Radicant" (2009), which together with the exhibition "Altermodern" (2009) serves as an example of the symbiosis of his curatorial and theoretical activities. This paper seeks to show both the importance of the work that followed "Relational Aesthetics" and the continuous development of Bourriaud's curatorial thought.