Performance art used to be resistant to history. A reaction to commodification, performances could not be sold; nor could they be stored in a museum archive for future study. Surveys of the medium had to rely on scarce remains, whether salvaged props or blurry photographs. But recent years have seen livelier attempts to capture this ephemeral history. In 2001, Kunst-Werke’s “A Little Bit of History Repeated” invited younger artists to restage the classics, like actors in a repertory theater; and Whitechapel Art Gallery’s series “A Short History of Performance,” initiated in 2002, invited the

“Jenseis des Kinos: Die Kunst der Projektionen. Filme, Videos, und Installationen von 1963 bis 2005” (Beyond Cinema: The Art of Projection. Films, Videos, and Installations from 1963 to 2005) proves once again that less is more. Moving from Barbara Rubin to Peter Welz, the retrospective underscores the difference between artistic and conventional cinema while setting a high new standard for showing projections by leaving lots of empty space around each work. The curatorial team of artist Stan Douglas, Christopher Eamon, Joachim Jäger, and Gabriele Knapstein installed their twenty-seven selections