of major performance pieces by the likes of Acconci, Burden, Abramovi , and Hsieh, and confronts the twisting and troubled relationship that performance art has had with the spectator and the public sphere. Ward contends that the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience, in terms that suggest the collapse of notions like “public” and “community.”A thoughtful, even urgent discussion of the relationship between art and the audience that will appeal to a broad range of art historians, artists, and others interested in constructions of the public sphere.

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