Patrick Clancy sets rigorous tasks for his audience. Both his wall-size photoscroll 365/360 (The City and the Plowed Field) and the 60-minute performance 365/360 (The Crossroads) possess considerable intellectual density and thus present a challenging degree of viewing difficulty. This factor is relative, of course, to the standard of the “conditioned glance,” i.e., the few seconds that a viewer devotes to each work in a gallery environment, or the general inclination toward passive reception in theater/performance situations.

Somewhat resembling the format of a photographer’s contact sheet, the