Vito Acconci’s contribution to Sharp’s exhibition, a durational performance work titled Security Zone, consisted of the artist standing blindfolded and with his ears plugged at the edge of the pier, making a quite literal reference to the subject of isolation in the derelict and potentially dangerous space of the abandoned waterfront, but also alluding, through loose insinuations to bondage and penetration, to its appropriation as a gay cruising space. In an untitled work from earlier the same year, the artist invited friends to another abandoned warehouse at 1:00 a.m. over a series of
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