Abramovic, Marina, and Klaus Peter Biesenbach, Marina Abramovic: The Artist Is Present (New York: Museum of Modern Art, 2010)
———, ‘Seven Easy Pieces’, in Marina Abramovic: The Artist Is Present (New York: Museum of Modern Art, 2010), pp. 36–93
Andre, Carl, Last Ladder | Tate, 1959 <https://www.tate.org.uk/art/artworks/andre-last-ladder-t01533>
Auslander, Philip, From Acting to Performance: Essays in Modernism and Postmodernism (London: Routledge, 1997)
———, From Acting to Performance: Essays in Modernism and Postmodernism (London: Routledge, 1997) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169806>
———, Liveness: Performance in a Mediatized Culture, 2nd Edition (London: Routledge, 2008)
———, Liveness: Performance in a Mediatized Culture (London: Routledge, 2008)
———, ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’, in From Acting to Performance: Essays in Modernism and Postmodernism (London: Routledge, 1997), pp. 49–57
———, ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’, in From Acting to Performance: Essays in Modernism and Postmodernism (London: Routledge, 1997), pp. 49–57 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=169806>
———, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28.3 (2006), 1–10 <https://www.jstor.org/stable/4140006>
Batchelor, David, Minimalism (London: Tate Gallery, 1997)
———, Minimalism (London: Tate Gallery, 1997)
Battcock, Gregory, Minimal Art: A Critical Anthology (Berkeley: University of California Press, 1995)
Battcock, Gregory, and Robert Nickas, The Art of Performance: A Critical Anthology (New York: E.P. Dutton, 1984)
Birringer, Johannes, ‘Dancing in the Museum’, PAJ: A Journal of Performance and Art, 33.3 (2011), 43–52 <https://muse.jhu.edu/article/448380>
Bishop, Claire, ‘Antagonism and Relational Aesthetics’, October, 110 (2004), 51–79 <https://www.jstor.org/stable/3397557>
———, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012)
———, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988>
———, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012)
———, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988>
———, Participation (London: Whitechapel, 2006)
———, Participation (London: Whitechapel, 2006)
———, ‘The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney’, The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney, 46.3 (2014), 62–76 <https://muse.jhu.edu/article/566328>
———, ‘The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney’, Dance Research Journal, 46.3 (2014), 63–76 <https://doi.org/10.1017/S0149767714000497>
———, ‘The Social Turn: Collaboration and Its Discontents’, Artforum, 44.Feb (2006), 178–83
Bishop, Claire, and Mark Sladen, Double Agent (London: Institute of Contemporary Arts, 2008)
‘BMW Tate Live: If Tate Modern Was Musée de La Danse? – Performance at Tate Modern | Tate’ <https://www.tate.org.uk/whats-on/tate-modern/performance/bmw-tate-live-2015/bmw-tate-live-if-tate-modern-was-musee-de-la>
Bourriaud, Nicholas, ‘Relational Form’, in Relational Aesthetics (Dijon, 2002), pp. 11–24
Bourriaud, Nicolas, Simon Pleasance, and Fronza Woods, Relational Aesthetics (Dijon, 2002)
Brentano, Robyn, Outside the Frame - Performance and the Object: A Survey History of Performance Art in the USA Since 1950 (Cleveland, Ohio: Cleveland Center for Contemporary Art, 1994)
Charmatz, Boris, ‘How to Dance with Art’, in How to Frame: On the Threshold of Performing and Visual Arts (Berlin: Sternberg Press, 2016), pp. 133–42
Copeland, Mathieu, Choreographing Exhibitions (Dijon: Presses du Reel, 2013)
———, ‘People and Things in the Museum’, in Choreographing Exhibitions (Dijon: Presses du Reel, 2013)
Courage, Cara, Arts in Place: The Arts, the Urban and Social Practice (London: Routledge, Taylor & Francis Group, 2017)
———, Arts in Place: The Arts, the Urban and Social Practice (Abingdon: Routledge, 2017) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4799881>
Courage, Cara, and Anita McKeown, eds., Creative Placemaking: Research, Theory and Practice (London: Routledge, 2019)
———, eds., Creative Placemaking: Research, Theory and Practice (London: Routledge, 2019) <https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/9781315104607>
Crouch, Tim, ‘My Arm’, in Plays One (London: Oberon, 2011), pp. 21–47
Cunningham, Merce, ‘Space, Time and Dance | Merce Cunningham Trust’, 1952 <https://www.mercecunningham.org/the-work/writings/space-time-and-dance/>
Downey, Anthony, ‘Towards a Politics of (Relational) Aesthetics’, Third Text, 21.3 (2007), 267–75 <https://doi.org/10.1080/09528820701360534>
———, ‘Towards a Politics of (Relational) Aesthetics’, Third Text, 21.3 (2007), 267–75 <https://doi.org/10.1080/09528820701360534>
Ferdman, Bertie, ‘From Content to Context: The Emergence of the Performance Curator’, Theater, 44.2 (2014), 5–19 <https://doi.org/10.1215/01610775-2409482>
Fernandez, Laure, ‘Once Again’, in Ragnar Kjartansson, ed. by Frédéric Grossi (Paris, France: Palais de Tokyo, 2015), pp. 29–38
Finbow, Acatia, ‘Multiplicity in the Documentation of Performance-Based Artworks: Displaying Multi-Media Documentation in Rebecca Horn’s Body Sculptures at Tate’, Journal of New Music Research, 47.4 (2018), 291–99 <https://doi.org/10.1080/09298215.2018.1486432>
Foster, Hal, The Return of the Real: The Avant-Garde at the End of the Century (Cambridge, Mass: MIT Press, 1996)
Fried, Michael, ‘Art and Objecthood’, in Minimal Art: A Critical Anthology (Berkeley: University of California Press, 1995), pp. 116–47
———, ‘Art and Objecthood’, in Minimal Art: A Critical Anthology (Berkeley: University of California Press, 1995), pp. 49–57
Gallizio, Pinot, Industrial Painting | Tate, 1958 <https://www.tate.org.uk/art/artworks/gallizio-industrial-painting-t14249>
Giannachi, Gabriella, and Jonah Westerman, eds., Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (London: Routledge, 2018)
Goldberg, Rose Lee, ‘One Hundred Years’, in Live: Art and Performance (London: Tate, 2004), pp. 176–82
Goldberg, RoseLee, ‘Living Art c.1933 to the 1970s’, in Performance Art: From Futurism to the Present, 3rd Edition (London: Thames & Hudson, 2011), pp. 121–51
———, Performance Art: From Futurism to the Present, 3rd Edition (London: Thames & Hudson, 2011)
———, Performance: Live Art Since the 60s (London: Thames & Hudson, 1998)
Groĭs, Boris, Art Power (Cambridge, Massachusetts: The MIT Press, 2013)
———, Art Power (Cambridge, Mass: MIT Press, 2008) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3338770>
Gronau, Barbara, Matthias von Hartz, and Carolin Hochleichter, How to Frame: On the Threshold of Performing and Visual Arts (Berlin: Sternberg Press, 2016)
Guy, Georgina, ‘From Visible Object to Reported Action: The Performance of Verbal Images in Visual Art Museums’, Theatre Journal, 69.3 (2017), 339–59 <https://muse.jhu.edu/article/670581>
———, ‘Introduction: Displaying Performance’, in Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi, 1–43
———, ‘Introduction: Displaying Performance’, in Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi, 1–43 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466>
———, Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi
———, Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719>
———, ‘Visitor and Performer: The Return of the Relational’, in Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi, 100–138
———, ‘Visitor and Performer: The Return of the Relational’, in Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi, 100–138 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466>
Harvie, Jen, ‘Agency and Complicity in "A Special Civic Room”: London’s Tate Modern Turbine Hall’, in Performance and the City (Basingstoke: Palgrave Macmillan, 2011), pp. 204–21
———, ‘Democracy and Neoliberalism in Art’s Social Turn and Roger Hiorns’s Seizure’, Performance Research, 16.2 (2011), 113–23 <https://doi.org/10.1080/13528165.2011.578842>
———, Fair Play: Art, Performance and Neoliberalism (Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013)
———, Fair Play: Art, Performance and Neoliberalism, 2013 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369>
———, Fair Play: Art, Performance and Neoliberalism (Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013)
———, Fair Play: Art, Performance and Neoliberalism, 2013 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369>
Heathfield, Adrian, Small Acts: Performance, the Millennium and the Marking of Time (London: Black Dog, 2000)
Heathfield, Adrian, and Hugo Glendinning, Live: Art and Performance (London: Tate, 2004)
Heathfield, Adrian, and Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh (London: Live Art Development Agency, 2009)
Heddon, Deirdre, and Jennie Klein, eds., Histories and Practices of Live Art (Basingstoke, Hampshire: Palgrave Macmillan, 2012)
Hoffmann, Jens, and Joan Jonas, Perform (New York: Thames & Hudson, 2005)
Jackson, Shannon, ‘Quality Time: Social Practice Debates in Contemporary Art’, in Social Works: Performing Art, Supporting Publics (New York: Routledge, 2011), pp. 43–74
———, ‘Quality Time: Social Practice Debates in Contemporary Art’, in Social Works: Performing Art, Supporting Publics (New York: Routledge, 2011), pp. 43–74 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668595>
———, Social Works: Performing Art, Supporting Publics (New York: Routledge, 2011)
———, Social Works: Performing Art, Supporting Publics (New York: Routledge, 2011)
Jones, Amelia, ‘"Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997), 11–18 <https://doi.org/10.1080/00043249.1997.10791844>
———, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997), 11–18 <https://doi.org/10.2307/777715>
———, ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’, TDR/The Drama Review, 55.1 (2011), 16–45 <https://www.jstor.org/stable/23017597>
———, ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’, TDR/The Drama Review, 55.1 (2011), 16–45 <https://www.jstor.org/stable/23017597>
———, ‘Unpredictable Temporalities: The Body and Performance in (Art) History’, in Performance Archives - Archives of Performance, ed. by Gunhild Borggreen and Rune Gade (Copenhagen: Museum Tusculanum, University of Copenhagen, 2013), pp. 53–72
Jones, Amelia, and Adrian Heathfield, Perform, Repeat, Record: Live Art in History (Bristol: Intellect, 2012)
———, eds., Perform, Repeat, Record: Live Art in History (Bristol: Intellect, 2012) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809>
———, Perform, Repeat, Record: Live Art in History (Bristol: Intellect, 2012)
———, eds., Perform, Repeat, Record: Live Art in History (Bristol: Intellect, 2012) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809>
Judd, Donald, Untitled | Tate, 1980 <https://www.tate.org.uk/art/artworks/judd-untitled-t03087>
Kaye, Nick, Site-Specific Art: Performance, Place, and Documentation (New York: Routledge, 2000)
———, Site-Specific Art: Performance, Place, and Documentation (London: Routledge, 2000)
Kelleher, Joe, The Illuminated Theatre: Studies on the Suffering of Images (London: Routledge, 2015)
Kim, Ku-lim, Death of Sun I | Tate, 1964 <https://www.tate.org.uk/art/artworks/kim-death-of-sun-i-t14359>
Krauss, Rosalind E., ‘Mechanical Ballets: Light, Motion, Theatre’, in Passages in Modern Sculpture (Cambridge, Mass: MIT Press, 1981), pp. 201–42
———, Passages in Modern Sculpture (Cambridge, Mass: MIT Press, 1981)
Kunst, Bojana, ‘Conclusion: On Laziness and Less Work’, in Artist at Work, Proximity of Art and Capitalism (Alresford: Zero Books, an imprint of John Hunt Publishing, 2015), pp. 111–21
———, ‘Conclusion: On Laziness and Less Work’, in Artist at Work, Proximity of Art and Capitalism (Alresford: Zero Books, an imprint of John Hunt Publishing, 2015), pp. 111–21 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4448938>
Laurenson, Pip, and Vivian van Saaze, ‘Collecting Performance Based Art: New Challenges and Perspectives’, in Performativity in the Gallery: Staging Interactive Encounters, ed. by Outi Remes, Laura MacCulloch, and Marika Leino (Bern: Peter Lang, 2014), volume 31, 27–41
Leighton, Tanya, Art and the Moving Image: A Critical Reader (London: Tate Pub, 2008)
Lepecki, Andre, Exhausting Dance: Performance and the Politics of Movement (New York: Routledge, 2006)
———, Exhausting Dance: Performance and the Politics of Movement (New York: Routledge, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=261301>
Lepecki, Andre and Whitechapel Art Gallery, Dance (London: Whitechapel Art Gallery, 2012)
Lind, Maria, Performing the Curatorial: Within and Beyond Art (Berlin: Sternberg Press, 2012)
———, Performing the Curatorial: Within and Beyond Art (Berlin: Sternberg Press, 2012)
Lippard, Lucy R., Six Years: The Dematerialization of the Art Object From 1966 to 1972 (Berkeley: University of California Press, 1997)
McKenzie, Jon, Perform or Else: From Discipline to Performance (London: Routledge, 2001)
———, Perform or Else: From Discipline to Performance (London: Routledge, 2001) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=166268>
Meisel, Martin, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton, N.J.: Princeton University Press, 1983)
Morris, Robert, Location Piece | Tate, 1973 <https://www.tate.org.uk/art/artworks/morris-location-piece-p07235>
Mundy, Jennifer, Lost Art: Missing Artworks of the Twentieth Century (London: Tate Publishing, 2013)
Nixon, Mignon, ‘Dream Dust’, October, 116.Spring (2006), 63–86 <https://www.jstor.org/stable/40368425>
Nyong’o, Tavia, ‘Does Staging Historical Trauma Re-Enact It?’, in Thinking Through Theatre and Performance, ed. by Maaike Bleeker, Adrian Kear, Joe Kelleher, and Heike Roms (London: Bloomsbury Methuen Drama, 2019), pp. 200–210 <https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&amp;isbn=9781472579638&amp;uid=^u>
Obrist, Hans Ulrich, A Brief History of Curating, ed. by Lionel Bovier and Birte Theiler (Zurich: JRP, 2014)
———, A Brief History of Curating (New York: JRP|Ringier, 2012) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=829682>
Obrist, Hans Ulrich, and Marina Abramovic, Marina Abramovic (Kln: Walther Knig, 2010), xxiii
———, Marina Abramovic (Kln: Walther Knig, 2010), xxiii
O’Doherty, Brian, Inside the White Cube: The Ideology of the Gallery Space, Expanded ed (Berkeley, Calif: University of California Press, 1999)
Ose, Elvira Dyangani, ‘Enthusiasm: Collectiveness, Politics, and Aesthetics’, Nka Journal of Contemporary African Art, 2014.34 (2014), 24–33 <https://doi.org/10.1215/10757163-2415159>
‘Pan Daijing: The Absent Hour – Performance at Tate Modern | Tate’ <https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-absent-hour>
‘Pan Daijing: Tissues – Performance at Tate Modern | Tate’ <https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-tissues>
Patel, Jeram, Untitled | Tate, 1963 <https://www.tate.org.uk/art/artworks/patel-untitled-t14950>
Phelan, James, and Peter J. Rabinowitz, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Oxford: Blackwell, 2005), pp. 499–514 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=243554>
Phelan, Peggy, ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, 56.4 (2004), 569–77 <https://doi.org/10.1353/tj.2004.0178>
———, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Malden, Mass: Blackwell, 2008), pp. 499–514
———, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Oxford: Blackwell, 2005), pp. 499–514 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=243554>
———, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Malden, Mass: Blackwell, 2008), pp. 499–514
———, ‘The Ontology of Performance: Representation Without Reproduction’, in Unmarked: The Politics of Performance (London: Routledge, 1993), pp. 146–66
———, ‘The Ontology of Performance: Representation Without Reproduction’, in Unmarked: The Politics of Performance (London: Routledge, 1992), pp. 146–66 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=179272>
———, Unmarked: The Politics of Performance (London: Routledge, 1993)
———, Unmarked: The Politics of Performance (London: Routledge, 1992) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272>
Pollock, Jackson, Number 14 | Tate, 1951 <https://www.tate.org.uk/art/artworks/pollock-number-14-t03978>
Ranciere, Jacques, The Politics of Aesthetics: The Distribution of the Sensible, ed. by Gabriel Rockhill, Updated edition (London: Bloomsbury Academic, 2015)
Read, Alan, Theatre in the Expanded Field (Bloomsbury Publishing) <http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137>
Read, Alan, and Beryl Robinson, Theatre in the Expanded Field: Seven Approaches to Performance (London: Bloomsbury, 2013)
‘Rebecca Horn – Display at Tate Modern | Tate’ <https://www.tate.org.uk/visit/tate-modern/display/tanks/rebecca-horn>
Rebellato, Dan, Richard Boon, and Philip Roberts, eds., Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations (London: Bloomsbury, 2013)
———, eds., Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations (Bloomsbury Publishing, 2015) <http://www.dramaonlinelibrary.com/context-and-criticism/modern-british-playwriting-2000-2009-iid-137977>
Remes, Outi, Laura MacCulloch, and Marika Leino, eds., Performativity in the Gallery: Staging Interactive Encounters (Bern: Peter Lang, 2014), volume 31
Rendell, Jane, Art and Architecture: A Place Between (London: I. B. Tauris, 2006)
Ridout, Nicholas, ‘Performance in the Service Economy: Outsourcing and Delegation’, in Double Agent (London: Institute of Contemporary Arts, 2008), pp. 126–31
———, ‘’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate’, 2007 <https://web.archive.org/web/20180217070314/http://www.tate.org.uk/context-comment/articles/you-look-charming-you-look-enchanting-you-look-dazzling-you-look>
———, ‘’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate’, 2007 <https://web.archive.org/web/20220710020051/https://www.tate.org.uk/tate-etc/issue-11-autumn-2007/you-look-charming-you-look-enchanting-you-look-dazzling-you-look>
Roms, Heike, ‘How and Why Are Performances Documented?’, in Thinking Through Theatre and Performance, ed. by Maaike Bleeker, Adrian Kear, Joe Kelleher, and Heike Roms (London: Methuen Drama, 2019), pp. 225–39
Rosenthal, Stephanie, ‘Choreographing You: Choreographies in the Visual Arts’, in Move: Choreographing You: Art and Dance Since the 1960s (London: Hayward Pub, 2011), pp. 7–11
———, ‘Choreographing You: Choreographies in the Visual Arts’, in Move: Choreographing You : Art and Dance Since the 1960s (London: Hayward Pub, 2011), pp. 7–11
Rugg, Judith, and Michele Sedgwick, Issues in Curating Contemporary Art and Performance (Bristol, UK: Intellect, 2007)
———, Issues in Curating Contemporary Art and Performance (Bristol, UK: Intellect, 2007)
———, Issues in Curating Contemporary Art and Performance (Bristol, UK: Intellect, 2007)
de Saint Phalle, Niki, Shooting Picture | Tate, 1961 <https://www.tate.org.uk/art/artworks/saint-phalle-shooting-picture-t03824>
Sayre, Henry M., The Object of Performance: The American Avant-Garde Since 1970, New Edition (Chicago, IL: The University of Chicago Press, 1992)
Schimmel, Paul, and Kristine Stiles, Out of Actions: Between Performance and the Object, 1949-1979 (Los Angeles: Museum of Contemporary Art, 1998)
Schneider, Rebecca, ‘In the Meantime: Performance Remains’, in Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011), pp. 87–110
———, ‘In the Meantime: Performance Remains’, in Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011), pp. 87–110 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668786>
———, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011)
———, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786>
———, ‘Remembering Feminist Remimesis: A Riddle in Three Parts’, TDR/The Drama Review, 58.2 (2014), 14–32 <https://muse.jhu.edu/article/545170>
Serota, Nicholas, Experience or Interpretation: The Dilemma of Museums of Modern Art (London: Thames & Hudson, 2000)
Shalson, Lara, ‘On Duration and Multiplicity’, Performance Research, 17.5 (2012), 98–106 <https://doi.org/10.1080/13528165.2012.728448>
Shimamoto, Shozo, Holes | Tate, 1954 <https://www.tate.org.uk/art/artworks/shimamoto-holes-t07898>
Spector, Nancy, ‘Seven Easy Pieces’, in Marina Abramovic: The Artist Is Present (New York, 2010), pp. 36–93
‘Tate Exchange at Tate Modern | Tate’ <https://www.tate.org.uk/visit/tate-modern/tate-exchange>
‘Theanyspacewhatever | Guggenheim’, 2008 <https://www.guggenheim.org/video/theanyspacewhatever>
Westerman, Jonah, ‘Museum of Modern Art, New York’, in Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices, ed. by Gabriella Giannachi and Jonah Westerman (London: Routledge, 2018), pp. 15–20
———, ‘Museum of Modern Art, New York’, in Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices, ed. by Gabriella Giannachi and Jonah Westerman (London: Routledge, Taylor & Francis Group, 2018), pp. 15–20 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4947457>
‘What Happened, Sherlock Holmes and the Museum Dance | Spangbergianism’ <https://spangbergianism.wordpress.com/2014/10/19/what-happened-sherlock-holmes-and-the-museum-dance/>
Wood, Catherine, ‘Painting in the Shape of a House’, in A Bigger Splash: Painting After Performance (London: Tate, 2012), pp. 10–22
———, Performance in Contemporary Art (London: Tate Publishing, 2018)
———, Performance in Contemporary Art (London: Tate Publishing, 2018)
Wood, Catherine, and Eda Cufer, A Bigger Splash: Painting After Performance (London: Tate, 2012)