New York

Laurie Anderson

Holly Solomon Gallery and Museum Of Modern Art

Boundaries between the visual and performing arts have long been blurred, if not altogether erased in many artists’ minds. Shifting intermedia activities have focused on new, often uncategorized issues. As a “conceptual performance” artist Laurie Anderson has addressed these issues, sometimes with illuminating originality. Recently, in two acoustical installation pieces, she removed herself as performer, substituting props of a sort that propose perceptual predicaments. Anderson hasn’t abandoned the concept of performance but has displaced it by activating the role of the “perceiver”—a strategy similar to that of Vito Acconci in recent works. Both Quartet #1 For Four (Subsequent) Listeners and Handphone Table invite the anonymous observer/auditor to perform acts of sensory engagement, which disrupt usual patterns of perception.

In some ways suggestive of participatory theatre, Quartet #1

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