“In 1994, I didn’t have information about arts funding. I didn’t belong to any group of artists, any art movement. I was not part of the NEA Four. I considered my performance work more elaborate than actionism, but not quite theater. It was a visual testimonial, an invitation to go beyond minor (or, to some, major) limitations and experience the sublime, or at least an attempt to reach the sublime. Usually it was an interesting exercise in symbolist bloat. I’m not glamorizing my status as an outsider, but to be attacked, to smell the attack coming, was unbelievable because I wasn’t participating in this system.”