occurred while someone else watched,” the boundaries between voyeur and viewer becoming blurred, as they were in the cruising that took place in the same waterfront landscape. The unregulated, abandoned site of the warehouse allowed Acconci “to work in a public rather than in front of a public,” relatively unmediated.51 Distinct from Sharp’s earlier project, which was focused on documentation for a museum audience and, indeed, could be recorded photographically at all, Acconci’s second pier piece was performative to the point of being visually inconceivable, contingent upon and enhancing the
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