In the discourse of installation art, the viewer is traditionally regarded as a central figure and  his or her participation as a key condition for the artwork. However, 2010s reflect a significant increase of interest in different materialities, including living organisms and digital technologies in art, along with the reflexive approach of the artists themselves to the relation between humans and nonhumans, culture and nature. This provides an opportunity to reconsider how and in collaboration with whom installation art gets to be created today; how it is received and experienced. For this reason, the theories of posthumanism are used as a methodological tool in order to critically reassess the anthropocentric worldview and question the positions of power that a human claims to hold. This research overviews the features, models and cases of installation art of the 2010s with the aims to enrich and rethink our understanding of installation. It is achieved by redistributing our attention among all the material objects of installation, thus considering a viewer as a mere component among all others. The artwork itself then, is as a collection of equally important elements with interacting materialities, rather than a set of passive objects orchestrated by the artist. The research proposes a hypothesis that installation artworks can be recognized as a prototype model for the theories of posthumanism, because they involve real encounters between humans, things, living organisms and technology. Installations are fostering us to inquire into being and knowledge of both, the Self and the nonhuman Other, and thereby are able to reconfigure this interrelation.