The thesis of this paper is that the artistic work of Vlasta Delimar is based on the dialectical principle as a play of opposites, from which an engaged performative practice emerges as a synthesis of critical and creative thinking, encouraging social change. The path to confirming and arguing this thesis begins with the author's subjective expression, in which he points to his understanding of the world and the idea of knowledge, which he views as a mandatory category or as the key phenomenon and the driver of dialectical processes and engagement. The theoretical niche for contemplating the relationship between humans and knowledge starts with Marxist, existentialist, and postmodern theories. This framework is expanded in the field of somatic and performative theories through the idea of knowledge as a cognitive and engaged process. The paper is based on phenomenological methodology, emphasizing the importance of individual experience and the paradigm of (post)truths. It also provides an interpretation of dialectics through philosophical dictionaries and an understanding of critical theory and its connection to dialectics. The link between these theories and the creativity of Vlasta Delimar is found in the determinants of Brecht's dialectical theater, which triangulates critique, entertainment, explicitness, and astonishment, thus encouraging social change. We observe Delimar as a Diogenes, referring to the performance of knowledge that transcends the boundaries of binary divisions between nature and culture and, through her artistic practice, encourages contemplation of an egalitarian society.