Kiesler was interested in creating a continuity of spatial interrelationships between exhibited works of art. He did not privilege the autonomy of a work of art in isolation from its surroundings. In the 1924 International Exhibition of New Theater Techniques, his exhibit design already began to speak of an interactivity between observer, art, and the surrounding spatial context based on his idea of corealism or the exchange between man, his natural and technological environments. It is through the technological environment that humanity affects change, both positive and negative. 

The City in Space exposition of 1925 formally embodied the visionary utopias of the Bahaus and DeStijl artists. Upon seeing City in Space, Theo van Doesburg is said to have remarked to Kiesler, "You have realized that which we dreamed could one day be accomplished." A suspended construction of panels and beams without supports, Kiesler described it as a "system of tension in open space." The visitor to the exposition was able to walk though its matrices of interconnections. 

The Surrealist Gallery of 1942 was an expression of  the visitor's active role in experiencing art. All the displays were constructed so that viewing heights and angles could be fully adjusted to suit the visitor. Multifunctional furniture modeled after biomorphic forms was designed to serve simultaneously as display stands or as seating. At the time, it was generally regarded as a ground breaking installation that secured Kiesler's reputation as an innovator. However, there were some detractors who accused Kiesler of trying to upstage art with his architectural intervention. 

A latent idea in many of  Kielser's installations was the need to engage the passive viewer in the reception of  works of art. The Blood Frames installation at the Hugo Gallery in 1947 once again challenged normative ideas surrounding the surfaces from which art was to be viewed. For one particular painting, Kielser surrounded it by a veiled curtain and suspended it from the ceiling. It was though these kinds of  challenges (often physical) that Kiesler hoped to produce an engaged dialogue between embodied observer and works of art.

Kiesler's seminal work of 1929, Contemporary Art Applied to the Storefront and its Display expresses the extent of his visionary ideas still early in his career. He predicted the emergence of a 'telemuseum' with "sensitized panels which will act as receiving surfaces for broadcasted pictures...Just as operas are now transmitted over the air, so picture galleries will be. From the Louvre to you, from the Prado to you, from everywhere to you."

City in Space, Exposition Internationale des Arts Decoratifs, Paris 1925

Surrealist Gallery, Art of This Century, Peggy Guggenheim Gallery, New York 1942

Blood Frames, Hugo Gallery, New York 1947