There I met such important performance artists as Joan Jonas, Charlemagne Palestine, Simone Forti, and Luigi Ontani, and the key Arte Povera figures Marisa and Mario Merz, Jannis Kounellis, Luciano Fabro, Giovanni Anselmo, and Giuseppe Penone. It was heady company. But as my horizons broadened and I understood how conceptualism was taking hold, I yearned to make my own art more visceral. That meant using the body—my body. In Rome I performed Rhythm 10 once more, this time with twenty knives and even more blood than before. Once again I got a big reaction from the audience. My mind was
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