new-york

Holly Hughes

Performance Space 122

Thanks to some heavy breathing in the halls of congress, Holly HughesWorld Without End, 1989, a very intimate production, which was never intended for a mass audience, has captured the imagination of the mainstream media. Since World Without End premiered at P.S. 122 last season, it has gone full circle around the country (Los Angeles, Seattle, Washington D.C.); indeed, no one could invent a better trailblazer for their work than the lurid, tale-telling media that finds evil in the things artists say, rather than in the things congressmen do.

Who would expect a work to hold up to such overwhelmingly bombastic hype? For World Without End, a highly personal, largely autobiographical monologue, written and performed by the artist, is in many ways predictable. It is an example of a genre that has its roots in the late ’70s in the work of Laurie Anderson, Eric Bogosian, or Lily Tomlin, and

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