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Asbestos Tracking
It took up the whole length of the room. I put my shoes in a pan of asbestos at one end and made there parallel tracks along the floor. The first was running. No, not running. Shuffling and skipping. Dragging, shuffling, and skipping. Shuffling was…
Blind Forces
No description available.
Cell
Fox created a room permanently installed at MOCA in the form of a memento mori for the series, All Night Sculptures (Loeffler and Tong 1980: 76)
Corner Push
The Wall Push piece. It was like having a dialogue with the wall, exchanging energy with it. I pushed as hard as I could for about eight or nine minutes, until I was too tired to push any more. I used to park my car every day in that alley and I…
Defoliation Piece
The first performance I did as an art performance was at Berkeley in 1969 [sic], for The Eighties show at the old Berkeley Museum. It was the defoliation of jasmine plants […] It was specifically designed for the people that I knew would be there […]…
Flagellating Doppler
The performance lasted five hours. During this period I remained in the central ground floor space while De Cristal wandered throughout the open galleries of the museum, playing his jew’s harp, teaching others to play with them, giving them away, and…
Halation
[…] took place in a large empty garage in San Francisco in November 1974. In the dark room I placed two candles bent into semi-circles on the floor to form a circle. Each candle was lit at one end so as to form double flames always burning…
Levitation
I wanted to create a space that was conducive to levitation. The first thing I did was to cover the sixty by thirty foot floor with white paper and to tape white paper on the walls. The floor had been dark but it became such a brilliant white that if…
Opening My Hand as Slowly as Possible
No description available.
Pisces
Fox attached string between two fish and the hair on his head and his teeth. He slept in an attempt to dream about the killing of the fish. (Loeffler and Tong 1980: 33)