On the eve of her exhibition at Ikon, Ceal Floyer performed live at the nearby Symphony Hall. Her scheduled contribution to the early evening concert by the City of Birmingham Symphony Orchestra was simply but sensationally billed as A Nailbiting Performance, and it was exactly that. As the audience awaited the orchestra’s appearance onstage, Floyer strode from the wings onto the conductor’s podium and proceeded to examine her cuticles, bite her nails, pull at her fingers, and occasionally look up and around her with laboriously feigned indifference. She did so for a good five minutes before