I FIRST MET GUY IN 1975, in Venice, California, through Gus Foster. One evening we were going to a party with friends, stuffed into the backseat of a car. As we were driving around the Venice Circle, Guy asked if I would be interested in acting in a performance. That scene remains a vivid picture for me: “Of course I was interested! Extremely interested,” to borrow a couple of lines from his 1974 play Two Drawings. That invitation set me on a lifelong trajectory that has led to my present life in France.
The ﬁrst performance we worked on together was At Sunrise . . . a Cry Was Heard, 1976, which explains the history of the “halved painting.” As with Guy’s other works, there is no central plot, but in this case a series of small exotic stories tantalize listeners into thinking that the mystery of the painting might in the end be explained. For me, it was the most difﬁcult piece of any I
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