Meaning of artworks in galleries is often determined by the exhibition anatomy and the interpretive curatorial frameworks which guide visitors. This thesis looked into the radical possibilities of sidestepping such frameworks and harnessing the phenomenology of the art encounter to achieving a deeper connection to the work and others. Using Lacanian psychoanalysis, this thesis approached the exhibition as a language-like structure and employed the Imaginary-Symbolic-Real to quantify the intersubjective art encounter in Iman Issa’s Book of Facts. In the absence of didactic text, the viewer approached artworks as floating signifiers and “anchor” meaning through personal memories, experiences, and culture. Sameer Farooq’s A Heap of Random Sweepings and Homi Bhabha’s Third Space were channeled to probe how this intersubjectivity can expand beyond the Western space to invite cultural hybridity. This thesis proposed Dynamic Thought Articulation, an experimental mapping exercise, for understanding elusive intersubjective art encounters and engaging in collective meaning-building.