Clifford Owens has written that he doesn’t want to be pigeonholed as a performance artist, yet his work is deeply enmeshed in classic performance-art interrogations: What is the role of the document? Can performance and the museum coexist? Most explicitly, what are the codes mediating a performer’s relationship to an audience? And feedback—both via artist-to-artist conversation and as an exchange between performer and viewer—is crucial to what he does. This exhibition (Owens’s first solo museum show) not only actively involved the artist’s immediate audience but, laced with references