In the late 1960s, American performance artist Joan Jonas made waves with a series of works that investigated the “the process, politics and psychology of spectatorship” (The Guggenheim). She employed various tools to do so, from live video feeds that fragmented her performances on screens as they occurred, to mirrors that would warp her audience’s perception of the staged activities. For this reflective work, Mirror Piece I, performers held oblong mirrors, hypnotising viewers with slow, choreographed sequences that gave way to bold illusions.
