Long before dOCUMENTA (13) opened in 2012, designated documenta director Carolyn Christov-Bakargiev pledged that “her” documenta would stay clear of what she called the “Biennale-Syndrome.”  What was the Biennale-Syndrome, and why did she want to avoid it? What seemed to be the challenge here? The Venice Biennale - the first art biennale founded in 1895 – has traditionally defined itself as simultaneously a spectacle and as a representation of nation states through works of visual art. Is it possible for an international art show of its size and prestige to avoid the trend of further festivalization, and can it divest itself of re-mediations of cultural, racial, ethnic, and, in particular, national categories as artistic and aesthetic criteria for includson or exclusion? dOCUMENTA (13) became a record breaking show, visited by 860,000 people in 36 places in Kassel. As such, this 100-day show was, without any doubt, the most popular European art spectacle of the summer of 2012. It appeared, however, remarkably unspectacular. Although featureing the work of 188 international artists hailing from more than 50 countries, nationality did not seem to be a relevant issue. This article takes the reader on a journey back in time, reviewing the past 60 years of the documenta in order to diagnose its paradigmatic shifts. We will tour the 2012 documenta to determine what made Carolyn Christov-Bakargiev’s show stand out from previous documenta exhibitions and the ubiquitous biennials. Drawing upon Levent Soysal’s concept of “Public Intimacy,” and relying on his idea of the “new individual” who engages accordingly with her surroundings and her social environment, the article will discuss how dOCUMENTA (13) enticed its visitors. In turn, Bruno Latour’s “thing theory” will help explain how this most recent documenta rendered nationally defined diversity an obsolete analytic for the presentation of art.