ABSTRACT
Abramovic´’s artwork, moving from an easel-based painterly tradition to working with the body, provided an interpretative challenge to Yugoslavian society in the late 1960s/early 1970s. This chapter will consider the sorts of challenges her work presented to audiences in her homeland as well as in venues she performed to in Western Europe in order to highlight some of her primary concerns as an artist working with the body under particular socio-political circumstances.
