In this paper, James H. Sanders III considers that issues related to intersections have been the main influences in the work of Nick Cave (Chicago, USA), a visual artist, since the last quarter of the twentieth century. As a collaborator, assistant, promoter and critic, the author describes Cave's educational practices, investigates his motivations and accepts the demands of his imagination. Cave involves the audience as interpreters and spectators, so that they can accept and participate in his works by contemplating the enigmas the pieces hold. The author summarizes how Cave's works critically address the concerns of class, race and sexuality through installations, performances, shows and publications. He argues that spectators grasp the set of signs and references when they refuse to accept a single denomination or any other fixed categorization of Cave's works, affinities or interests. The author also recognizes the passionate way in which Cave introduces the complexity of experiential influences, and explores the fantasies of a world in which Cave's sculptures circulate, and the joyous happiness they display in their form and in the meanings they contain.