Creating interactive art infers forms of exhibition directly involving the public in the process. By setting up practical media, the artist displays new forms of sociability and shared actions. The media experience is less strictly distributed between broadcasting and receiving, conceived as two successive events in a fixed and unchanging message. From this point on, the artwork realizes a “field of the possible.” At the intersection of the sociology of innovation and the art sciences, the authors describe these relations between artwork and practices. They put into perspective specific forms of attachment that reveals new media paradigms.