1995-ongoing

My colleagues and I begin to take our personas out of the museum or theater and into the streets, often crashing politically charged sites in costume. Our idea is as follows: if our personae survive the tough involuntary audiences of the street, they will definitely survive the harshness of the art world. Though these types of interventions are central to our performance praxis, they often go unnoticed by critics and art historians who concentrate almost exclusively on work that takes place within the confines of the art world, which is why I have written extensively about these adventures in my books.

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