and penetrated without permission.57 Jonas uses “these techniques,” Crimp has argued, “to thwart our desire to know or possess the city beyond our immediate experience of it in the moment of use.” Her fragmented view leaves the city open for further reclamation, underscoring Acconci’s belief that while “New York doesn’t belong to us,” to artists, it might be made ours, at least temporarily, through creative practice. After all, Crimp concludes, we only ever “see the city in fragments . . . in our peripheral vision—and in recollection.”58
