By Monica McGivern
By Travis Cohen
By Hannah Sentenac
By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
Perhaps the most compelling work on display is the photographic documentation of Marina Abramovic's iconic 1974 performance, Rhythm O, in which the Serbian artist tested her physical endurance and sought to transgress boundaries between herself and the public. During the performance, Abramovic stood next to a table on which she had placed 72 objects that visitors could use on her nude body. Some of the items would result in pleasure; others would inflict pain.
While Abramovic stood in a trance-like state, spectators were invited to ritually engage her body with sundry items such as a whip, lipstick, a fork, matches, a hairpin, a lamb bone, scissors, a candle, and a bandage. The performance was abruptly stopped when a man pointed a loaded gun at the artist's head, and the rest of the audience tackled him.
Scenes from Abramovic's ritual offering of her body linger in the mind long after one leaves the exhibit.
"Our goal was to create an environment where people can explore everything from rites of passage to the everyday rituals that consume our attention," Cubiñá muses.