Andrea Fraser

Hamburger Kunsthalle

On returning home to Berlin from Hamburg, where I had seen Andrea Fraser’s midcareer retrospective, I was besieged with questions about the artist’s new “sex work,” a videotaped performance for which she was “commissioned” to have sex with a collector. “Did you like it?” I was repeatedly asked, and I found, even to my own surprise, that I had to answer yes, I liked it very much. This work, called Untitled, is clearly in keeping with a risk-laden artistic investigation that began in 2001 with two pieces: Kunst muss hängen (Art Must Hang), Fraser’s re-creation of an impromptu 1995 speech by Martin Kippenberger, and Official Welcome, a performance that had been criticized for its “exhibitionism,” since Fraser strips in one part. With Kunst muss hängen, Fraser had announced a new phase in her methods of what I would call “incorporating appropriation,” performances in which the line between “

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