My thinking about the medium of performance began in the late Sixties. In saying that, I am pointing to a particular conceptual context that was fully developed when I began to work—one that concerned itself with discovering new forms of movement and totally new ways of structuring the temporal shape of an event. Yet, when I survey the seven years of my work against that background of performances in the Sixties, I realize that those specific concerns with movement and temporality are not my concerns. My own thinking and production has focused on issues of space—ways of dislocating it, attenuating it, flattening it, turning it inside out, always attempting to explore it without ever giving to myself or to others the permission to penetrate it. I have returned again and again to a specific set of formal/material metaphors with which to shape this space.