Art About Waiting — and What It Takes to Endure - The New York Times

In a time of crisis with no end in sight, durational performance, or endurance art, surfaces in our consciousness. Is this the art of our age? Tehching Hsieh, photographed in New York on July 29, 2020. Credit... Amiko Li Supported by By Andrew Russeth On the last day of September in 1978 — as the New York City newspaper strike dragged into its second month, Exile’s “Kiss You All Over” became the No. 1 song in America and Andy Warhol attended a screening of Jack Nicholson’s new western, “Goin’ South” — a then 27-year-old unknown artist named Tehching Hsieh began one of the century’s most harrowing art pieces. Hsieh had constructed an 11.5-by-9-by-8-foot wooden cage in his studio in Manhattan’s TriBeCa neighborhood, and that day he locked himself inside, vowing that he would remain there for one year. He would do pretty much nothing: not read, write, talk or otherwise engage himself in any activities. A friend, the photographer Cheng Wei Kuong, started regularly delivering food, photogra

In a time of crisis with no end in sight, durational performance, or endurance art, surfaces in our consciousness. Is this the art of our age? Tehching Hsieh, photographed in New York on July 29, 2020. Credit... Amiko Li Supported by By Andrew Russeth On the last day of September in 1978 — as the New York City newspaper strike dragged into its second month, Exile’s “Kiss You All Over” became the No. 1 song in America and Andy Warhol attended a screening of Jack Nicholson’s new western, “Goin’ South” — a then 27-year-old unknown artist named Tehching Hsieh began one of the century’s most harrow