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Throughout many centuries artistic practice preceded theory and it is only with the development of the latter that one became conscious of the possible difference between the perception of works of art and that of the real world. According to R. Ingarden every work of art requires a certain actinity of the onlooker, in order to be read in an appropriate way. meanwhile there appear works not quide accomplished which assume a real co-operation of public in their creation. The view of U. Eco concerning an open work is outlined. Next there are given some examples of closed (finished) works created in the twentieth century: a) such ones as try to present something which, in principle, cannot be visualized; b) such as admit various interpretations. In turn, there are given some examples of open works which require an active behaviour of the percipient (and sometimes of elements) to their very existence. The article is ended by a comment that participation is, by no means, renouncement of a contemplation of works.