The focus of this thesis is laid on the analysis of the interpretation of Mladen Stilinović's artworks at international exhibitions in the West. Stilinović is one of the most prominent Croatian artists on the global art scene. He was invited twice to the Venice Biennale and his works were displayed in the world-renowned museums such as the Museum of Modern Art in New York and the Centre Georges Pompidou in Paris. The focus of the interpretation of his work has been placed in the wider context of the new geopolitical division of the world after 1989 and the interest that the West has shown in the art and culture of the countries which have up to then been “unfamiliar” and which have not been part of the dominant canon. Considering Stilinović’s artistic interest and his challenging of ideology, politics, and economy, it is interesting to analyze his oeuvre from the point of view of the Western perception of the artist from the post-Yugoslav area. Taking the example of international exhibition practice after 1989, the thesis analyses the Western viewpoint on Stilinović’s most frequently exhibited works. Static interpretive frameworks are suitable for understanding art, not only Yugoslav but also wider, which is frequently interpreted in the former political contexts. The aim of this master’s thesis is to cast light on certain western institutions’ models of interpretation and contribute to the examination of the insufficiently explored topic of the perception of Mladen Stilinović’s artwork in the international context.