ABSTRACT

Like the photographs, bullet casing, and partial audio- and video-recordings that remain from Chris Burden’s Shoot (1971), or—to follow the mark on the pavement—like the blood and glass on the Los Angeles street and the grainy footage left behind after Burden’s Through the Night Softly (1973), these material remnants recall a past performance. But in addition to that event—partially remembered, imperfectly documented, and now (apparently) long over—it should be obvious that these remains also themselves perform. A performance event is still ongoing.