This dissertation seeks to demonstrate the rise of a new regime of artistic production called the “technological regime of the project,” which has been shaped by the growing importance of the project as working modality and mode of action in the artistic field. In contrast with the main discourse, which addresses the project through a critique of immaterial labour and the culture of project management, this dissertation argues that artistic practices have been transformed from within by the logic of the project through the development of site-specific practices. In turn artistic production would have moved towards the sphere of action. This argument relies on an epistemological shift at the heart of Western culture between two conceptions of knowledge, which informs different approaches to representation and action: one which is called the ontological, the other the technological. In building a genealogy of the technological from an artistic perspective, the dissertation goal, ultimately, is to provide practitioner with tools to bypass the idea of the project as an apparatus that instrumentalizes artistic production.