In the era of cyber culture and collective intelligence, video game establishes itself more and more nearby the artistic disciplines historically settled. Its aesthetics and its way of revisiting the real reveal a new "formal representation" and an increasing number of contemporary artists use it as an expression mean. The spatial development of video games is comparable to contemporary installations, it presents itself as a distinctive space recreated into a public or a domestic dimension. Video games, like installations, intensify the feeling of displacement or ubiquity, that any kind of show may provide. The installations using video games mechanism make us pass from the idea of "esthetique relationnelle" introduced by Nicolas Bourriaud to a participative aesthetics where the spectator takes the place of the protagonist. The analyze of three works: "QQQ" of Tom Betts, "Nekropolis" of Tobias Bernstrup and "Vigilance 1.0" of Martin Le Chevalier, shows some examples of reappropriation and diversion of the video games universe in contemporary art. Those examples allow us to see in a new way the world of video games. The three contemporary artists appropriate this form of expression to make new plastic and participative explorations far of from the first play and entertainment finality. In these three pieces the role of the spectator in the device is fundamental and it produces a total experience mobilizing at the same time: the vision, the hearing and the touch. The video game represents a post-modern form where contemporary artists may express the idea of "Gesamtkunstwerk" evoked by Richard Wagner (1813- 1883) in the second half of the XIX century with his theory of the "complete art work piece". We are witnessing a turning point in the way ofexperimenting life which consists in interrogating the body into space and time in synaesthesia. Contemporary artist seem indisputably to make their own the Duchamp's words: "the viewers are the ones who make the painting", the art of work remains unfinished until the spectator hasn't received it, the viewer turns up into an actor in a spectacular dynamics and his relation to the work of art goes beyond a simple passive contemplation.