The fifteenth edition of documenta, promoted as a ‘participatory event’ (Mitmach-documenta), not only ‘disappointed’ due to controversies related to anti-Semitism, but also due to the so-called ‘limited realisation of the promoted art participation’. This article explores the intertwining dynamics of participation and collectivity through the contributions of three Indonesian art collectives at documenta fifteen. Employing Sruti Bala’s expanded notion of participatory art, transcending the dichotomy of ‘good’ and ‘bad’ participation, a more nuanced perspective on documenta fifteen is developed. Local genealogies of participatory art within the Indonesian context, as well as their global translation in Kassel, are taken into consideration. To that end, the article opens up critical entry points for re-evaluating documenta from a multi-sited research perspective, based on the experiences of visitors, documenta staff, the art collectives, and their contributions. The objective is to gain a deeper understanding of the relationship between participation and collectivity in documenta fifteen from a transcultural perspective.