ABSTRACT
The education department of the Tate Gallery had hosted some performance events in the 1970s and the 1980s, like Joseph Beuys's Information Action, Marc Chaimowicz, Silvia Ziranek, Rose English, among others. And then there are events like the Robert Morris retrospective in 1971, which is not considered to be a performance, though the authors might look at it retrospectively as a performative installation. The works had a solid position in the exhibition, unusually, because during the week leading up to the actual performance, people would see the testing and the rehearsing and everything was in situ, so instead of being relegated to after-hours, the works were literally central to the space. The chapter also develops practice to acknowledge, recognize the significance of, and make visible the contexts and the different points of engagement between the various players and the artwork in its life within the museum.
