Vito Acconci

In the late 1960s, Vito Acconci abandoned poetry in order to work with the body and its relationship with space, although he did retain a ...

“In this exercise in nonverbal communication, Acconci explores facial expressions, and their psychological resonance, as a mode of ...

“Acconci spars with his close-up image in a mirror. He then breaks the mirror, destroying his image.” – Electronic Arts Intermix

The screen is empty: the artist stands off-screen — he breathes in and out, his stomach moving into and out of the frame.

Acconci’s face is seen in close-up. His eyes trace, in real time, the movement of the hands of an off-screen clock.

Using extreme close-ups and amplified sound to force the viewer into the space of his body, he experiments with his mouth as a container for ...

A super-8mm document (blown up to 16mm) of Acconci’s performance of the same name in which he covered almost the entirety of the gallery ...

A super-8mm document (blown up to 16mm) of Acconci’s performance of the same name where he laid flat on his stomach blindfolded on a wood ...

In Conversions II, the second in a trilogy of films interrogating the rigidity of gender binarism, the artist attempts to feminize his ...

The final installment of the Conversions trilogy.

Contacts is one of a series of tapes in which Acconci creates a controlled performance situation to explore the limits of a private space. ...

“In one of his earliest films, Acconci performs a series of actions — running in a circle, jumping, pushing another man — in which the ...