In this performance, Hill sits at a table with two cameras attached to his wrists and one directed to the back of his head; real-time footage of his actions are shown on three flat LCD monitors mounted in triangular position on the wall (i.e., a monitor displaying the footage of the back of his head was mounted at the apex of the triangle, and the monitors displaying his left and right hands were mounted at the bottom of the triangle). He utilizes and manipulates various objects on the table, including folding paper and writing texts. Patricia Martínez sits next to the table, playing an accordion. A live image of her playing the accordion is projected on top of the three triangularly placed monitors on the wall behind them. At one point, Hill gets up from the table and walks through the audience.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, p. 574.
Museo Caraffa, Córdoba, Argentina, July 7, 2000.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000. Unpaginated catalogue insert.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, GHCR 123, p. 239.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 332 – 333, 574.