Jamie Isenstein - Arm Chair, 2006

While not activated as a relational prosthetic, since it exists as a performance/sculpture rather than as an interaction between artist/chair and audience/potential-participant, Arm Chair nevertheless could be one and is therefore worth considering.

From the artist's gallery portfolio:

David Cross - Re-Tard, 2007

All images and text from the artist's website:

3 Photographs, Assorted Sculptural Objects, Performance.

Re-tard examines the relationship between, [sic] abstraction, children’s recreational structures and the grotesque.. Utilising commercially manufactured canvas props set up as a tableaux in the gallery space, the work consists of two modes, an opening performance and a subsequent interactive installation.  Three large coloured panels are positioned diametrically across the gallery space.  The panels have slots where my body and the bodies of the performers penetrate the surface.  Each panel has two air holes where an assortment of attachable components can be fitted or removed.  As in a children’s fun house, the audience are encouraged to manipulate the pieces by attaching or removing individual components.  As well as the tableaux of objects, three large-scale photographs of the panels with my body positioned inside them are located on the gallery walls..Re-tard picks at the blurry edges of abstraction where formal concerns intercede with the popular languages of infantile play structures.

David Cross - Pump, 2009

I first encountered an image of this piece in a printed advertisement for the artist's university's art program and was struck by the similarity to my box piece.  Having fallen in love with inflation as a metaphor and as a strategy to activate the viewer when I first saw images of Lee Bul's Hydra II (Monument), 1999, I naturally loved Cross's use.

All images, video and quotes are from his website:

David Cross is an artist, writer and curator based in Wellington, New Zealand

Working across performance, installation, video and photography, Cross has focused on the relationship between pleasure, the grotesque and the phobic.  His small to large-scale performance/installation work has sought to incorporate and extend contemporary thinking in relation to participation, linking performance art with object-based environments.  Often using his own body as a starting point, he employs a range of objects--many of which are inflatable--to draw audiences into potentially unexpected situations and dialogues.