You know when you’re standing around forever waiting for the train and the crowd just builds, and packs, and piles, and you mingle unwittingly with your limbs and frustration in this new group, all functioning as one unit of the “morning crowd” until, finally, you are pushed inside the MTA vessel and disperse, at intervals on its stops, splintering the unit, diffusing the energy of your long social encounter?
Congrats! You have just performed an endurance performance art piece. Not only that, it’s Relational Aesthetics for having taken that action into “social context, rather than an independent and private space.” Bourriaud would be happy because “the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist.”
Also, Hennessy can explain: