Marina Abramovic’s work can be divided into three phases: the early sound environments and performances, the long, central collaboration with Ulay, and the post-1988 “transitional objects.” The formal range and variety of materials in this body of work, which stretches over a period of more than 25 years, is immense. Early pieces such as a metronome ticking away in an otherwise empty room give way to performances in which the artist’s body is cut, whipped, frozen, burned, bled, drugged, exhausted, used/abused, or in which the body enters an intense partnership of brutal physical contact. These