TABLE OF CONTENTS

Jay Chung & Q Takeki Maeda

Barbara Hammer, Untitled (Stuttgart Museum Performance), 1972, gelatin silver print, 8 × 9".

1 BARBARA HAMMER (KOW, BERLIN) The standout in this revelatory survey was a group of black-and-white photographs (Untitled [Stuttgart Museum Performance], 1972) depicting Hammer in various galleries of the Staatsgalerie Stuttgart, using her body to mimic the artwork on display. Her gestures call attention to the formation of the artist as subject and to the submission implied in every response to art. Prescient and deceptively unassuming, the work is typical of Hammer’s underappreciated practice.

2 ALEXANDER HEMPEL (LARS FRIEDRICH, BERLIN) The cliché regarding performance, especially when it directly involves the spectator, is that the medium’s spontaneity allows it to break down social boundaries. Hempel subverted this tired idea. Instead of playing the nonconformist, he assumed the role of deranged control freak, embodying the forces of both policing and hostage taking. At one

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