New York

Gina Wendkos

Studio 54

Up through her performance of Blue Blood at P.S.1 last spring, Gina Wendkos was doing primarily installations of living sculpture involving ever-increasing numbers of people and filling ever greater amounts of time. Story lines were not forthcoming and pacing was jettisoned in favor of an antistructure that spread out over time rather than rising to a climax. Insofar as the performances tended to be public events rather than self-referred theatricals, the format was perfect. (Cast a cold eye on life, on death/Pedestrian, pass by.) One encountered Wendkos’ productions in Washington Square, on Fourteenth Street, at the Battery Park City landfill, and on Fifth Avenue. Inevitably their plotless progressions twined around issues of sexuality and stereotyping. Then, this past summer, Wendkos took Blue Blood to Studio 54, where her living sculptures underwent a subtle metamorphosis. The simplicity

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