This article aims to situate the work of the Beninese artist Georges AdÅagbo within the specific cultural field that defines its legitimacy in the art system. In particular, the article focuses on how the artistic quality of his work is constructed by actants (people, things, words, places and images) that mediate the relationships between the artist and his audience, allowing his site-specific displays, which share the practice of assemblage with the Dahomey sculptural tradition and with the material culture of Vodun, to find a place within a consolidated Western artistic tradition and to be employed as aesthetic and symbolic supports for institutional discourse in various exhibition apparatuses.

本文旨在将贝宁艺术家GeorgesAdÅagbo的作品放在特定的文化领域中，以定义其在艺术体系中的合法性。尤其是，本文重点介绍了由演员（人，事物，言语，地点和图像）如何构造他的作品的艺术品质，这些演员调解了艺术家和观众之间的关系，从而使他的特定于站点的展示与他人共享。结合达荷美雕塑传统和沃顿的物质文化的实践，在巩固的西方艺术传统中找到一席之地，并在各种展览装置中用作机构话语的美学和象征性支持。