The dark side of Relational Aesthetics?

In Antagonism and Relational Aesthetics, Claire Bishop discusses the differences between relational artists championed by Bourriard - Rirkrirt Taravanija and Liam Gillick - to artists conspicuously omitted in Relational Aesthetics - Sanitago Sierra and Hirschhorn.

I found Bishop's article interesting because it introduces new artists that use relations between the viewer/artwork/context as a core subject of the work, but approach these ideas with a more complex view of relations and democracy, that is, these artists accept the role that dissent and antagonism play in democracy.

Tiravanija's Untitled (Tomorrow is Another Day) seeks to create a microtopia, where there is a feeling of "togetherness", but its parameters are set in a fixed context - the art gallery, where the participants will largely be artists and art enthusiasts; predictably like-minded people. The work fails to address the possibility of any outsider who could jeopardise the "harmony" of the experience, and in doing so negates its claim to be "open-ended".

Santiago Sierra deliberately and obviously sets up limitations on the relationships experienced by the audience, immediately divorcing the work from an idea of "open endedness". He exaggerates the limitations of relationships imposed by the context of the artwork. In Persons Paid to Have Their Hair Dyed Blonde, Sierra paid illiegal street vendors $60 to have their hair dyed blonde, literally highlighting their presence in the crowds at the Venice Biennale. He even invited them to come into the Biennale itself and hock fake designer handbags in his exhibition space.