Abramovic, Marina, and Klaus Peter Biesenbach. Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art, 2010. Print.
---. ‘Seven Easy Pieces’. Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art, 2010. 36–93. Print.
Andre, Carl. Last Ladder | Tate. N.p., 1959. Web. <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. Print.
---. From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge, 1997. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169806>.
---. Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge, 2008. Print.
---. Liveness: Performance in a Mediatized Culture. London: Routledge, 2008. Print.
---. ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’. From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge, 1997. 49–57. Print.
---. ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’. From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge, 1997. 49–57. Web. <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. Web. <https://www.jstor.org/stable/4140006>.
Batchelor, David. Minimalism. London: Tate Gallery, 1997. Print.
---. Minimalism. London: Tate Gallery, 1997. Print.
Battcock, Gregory. Minimal Art: A Critical Anthology. Berkeley: University of California Press, 1995. Print.
Battcock, Gregory, and Robert Nickas. The Art of Performance: A Critical Anthology. New York: E.P. Dutton, 1984. Print.
Birringer, Johannes. ‘Dancing in the Museum’. PAJ: A Journal of Performance and Art 33.3 (2011): 43–52. Web. <https://muse.jhu.edu/article/448380>.
Bishop, Claire. ‘Antagonism and Relational Aesthetics’. October 110 (2004): 51–79. Web. <https://www.jstor.org/stable/3397557>.
---. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012. Print.
---. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012. Web. <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. Print.
---. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988>.
---. Participation. London: Whitechapel, 2006. Print.
---. Participation. London: Whitechapel, 2006. Print.
---. ‘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. Web. <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. Web.
---. ‘The Social Turn: Collaboration and Its Discontents’. Artforum 44.Feb (2006): 178–183. Print.
Bishop, Claire, and Mark Sladen. Double Agent. London: Institute of Contemporary Arts, 2008. Print.
‘BMW Tate Live: If Tate Modern Was Musée de La Danse? – Performance at Tate Modern | Tate’. N.p., n.d. Web. <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’. Relational Aesthetics. Dijon, 2002. 11–24. Print.
Bourriaud, Nicolas, Simon Pleasance, and Fronza Woods. Relational Aesthetics. Dijon, 2002. Print.
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. Print.
Charmatz, Boris. ‘How to Dance with Art’. How to Frame: On the Threshold of Performing and Visual Arts. Berlin: Sternberg Press, 2016. 133–142. Print.
Copeland, Mathieu. Choreographing Exhibitions. Dijon: Presses du Reel, 2013. Print.
---. ‘People and Things in the Museum’. Choreographing Exhibitions. Dijon: Presses du Reel, 2013. Print.
Courage, Cara. Arts in Place: The Arts, the Urban and Social Practice. London: Routledge, Taylor & Francis Group, 2017. Print.
---. Arts in Place: The Arts, the Urban and Social Practice. Abingdon: Routledge, 2017. Web. <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. Print.
---, eds. Creative Placemaking: Research, Theory and Practice. London: Routledge, 2019. Web. <https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/9781315104607>.
Crouch, Tim. ‘My Arm’. Plays One. London: Oberon, 2011. 21–47. Print.
Cunningham, Merce. ‘Space, Time and Dance | Merce Cunningham Trust’. N.p., 1952. Web. <https://www.mercecunningham.org/the-work/writings/space-time-and-dance/>.
de Saint Phalle, Niki. Shooting Picture | Tate. N.p., 1961. Web. <https://www.tate.org.uk/art/artworks/saint-phalle-shooting-picture-t03824>.
Downey, Anthony. ‘Towards a Politics of (Relational) Aesthetics’. Third Text 21.3 (2007): 267–275. Web.
---. ‘Towards a Politics of (Relational) Aesthetics’. Third Text 21.3 (2007): 267–275. Web.
Ferdman, Bertie. ‘From Content to Context: The Emergence of the Performance Curator’. Theater 44.2 (2014): 5–19. Web.
Fernandez, Laure. ‘Once Again’. Ragnar Kjartansson. Ed. Frédéric Grossi. Paris, France: Palais de Tokyo, 2015. 29–38. Print.
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): 291–299. Web.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge, Mass: MIT Press, 1996. Print.
Fried, Michael. ‘Art and Objecthood’. Minimal Art: A Critical Anthology. Berkeley: University of California Press, 1995. 116–147. Print.
---. ‘Art and Objecthood’. Minimal Art: A Critical Anthology. Berkeley: University of California Press, 1995. 49–57. Print.
Gallizio, Pinot. Industrial Painting | Tate. N.p., 1958. Web. <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. Print.
Goldberg, Rose Lee. ‘One Hundred Years’. Live: Art and Performance. London: Tate, 2004. 176–182. Print.
Goldberg, RoseLee. ‘Living Art c.1933 to the 1970s’. Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson, 2011. 121–151. Print.
---. Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson, 2011. Print.
---. Performance: Live Art Since the 60s. London: Thames & Hudson, 1998. Print.
Groĭs, Boris. Art Power. Cambridge, Massachusetts: The MIT Press, 2013. Print.
---. Art Power. Cambridge, Mass: MIT Press, 2008. Web. <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. Print.
Guy, Georgina. ‘From Visible Object to Reported Action: The Performance of Verbal Images in Visual Art Museums’. Theatre Journal 69.3 (2017): 339–359. Web. <https://muse.jhu.edu/article/670581>.
---. ‘Introduction: Displaying Performance’. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge, 2016. 1–43. Print.
---. ‘Introduction: Displaying Performance’. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge, 2016. 1–43. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466>.
---. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge, 2016. Print.
---. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge, 2016. Web. <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’. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge, 2016. 100–138. Print.
---. ‘Visitor and Performer: The Return of the Relational’. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge, 2016. 100–138. Web. <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’. Performance and the City. Basingstoke: Palgrave Macmillan, 2011. 204–221. Print.
---. ‘Democracy and Neoliberalism in Art’s Social Turn and Roger Hiorns’s Seizure’. Performance Research 16.2 (2011): 113–123. Web.
---. Fair Play: Art, Performance and Neoliberalism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013. Print.
---. Fair Play: Art, Performance and Neoliberalism. N.p., 2013. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369>.
---. Fair Play: Art, Performance and Neoliberalism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013. Print.
---. Fair Play: Art, Performance and Neoliberalism. N.p., 2013. Web. <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. Print.
Heathfield, Adrian, and Hugo Glendinning. Live: Art and Performance. London: Tate, 2004. Print.
Heathfield, Adrian, and Tehching Hsieh. Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency, 2009. Print.
Heddon, Deirdre, and Jennie Klein, eds. Histories and Practices of Live Art. Basingstoke, Hampshire: Palgrave Macmillan, 2012. Print.
Hoffmann, Jens, and Joan Jonas. Perform. New York: Thames & Hudson, 2005. Print.
Jackson, Shannon. ‘Quality Time: Social Practice Debates in Contemporary Art’. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011. 43–74. Print.
---. ‘Quality Time: Social Practice Debates in Contemporary Art’. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011. 43–74. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668595>.
---. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011. Print.
---. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011. Print.
Jones, Amelia. ‘"Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56.4 (1997): 11–18. Web.
---. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56.4 (1997): 11–18. Web.
---. ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’. TDR/The Drama Review 55.1 (2011): 16–45. Web. <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. Web. <https://www.jstor.org/stable/23017597>.
---. ‘Unpredictable Temporalities: The Body and Performance in (Art) History’. Performance Archives - Archives of Performance. Ed. Gunhild Borggreen and Rune Gade. Copenhagen: Museum Tusculanum, University of Copenhagen, 2013. 53–72. Print.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Bristol: Intellect, 2012. Print.
---, eds. Perform, Repeat, Record: Live Art in History. Bristol: Intellect, 2012. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809>.
---. Perform, Repeat, Record: Live Art in History. Bristol: Intellect, 2012. Print.
---, eds. Perform, Repeat, Record: Live Art in History. Bristol: Intellect, 2012. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809>.
Judd, Donald. Untitled | Tate. N.p., 1980. Web. <https://www.tate.org.uk/art/artworks/judd-untitled-t03087>.
Kaye, Nick. Site-Specific Art: Performance, Place, and Documentation. New York: Routledge, 2000. Print.
---. Site-Specific Art: Performance, Place, and Documentation. London: Routledge, 2000. Print.
Kelleher, Joe. The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge, 2015. Print.
Kim, Ku-lim. Death of Sun I | Tate. N.p., 1964. Web. <https://www.tate.org.uk/art/artworks/kim-death-of-sun-i-t14359>.
Krauss, Rosalind E. ‘Mechanical Ballets: Light, Motion, Theatre’. Passages in Modern Sculpture. Cambridge, Mass: MIT Press, 1981. 201–242. Print.
---. Passages in Modern Sculpture. Cambridge, Mass: MIT Press, 1981. Print.
Kunst, Bojana. ‘Conclusion: On Laziness and Less Work’. Artist at Work, Proximity of Art and Capitalism. Alresford: Zero Books, an imprint of John Hunt Publishing, 2015. 111–121. Print.
---. ‘Conclusion: On Laziness and Less Work’. Artist at Work, Proximity of Art and Capitalism. Alresford: Zero Books, an imprint of John Hunt Publishing, 2015. 111–121. Web. <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’. Performativity in the Gallery: Staging Interactive Encounters. Ed. Outi Remes, Laura MacCulloch, and Marika Leino. volume 31. Bern: Peter Lang, 2014. 27–41. Print.
Leighton, Tanya. Art and the Moving Image: A Critical Reader. London: Tate Pub, 2008. Print.
Lepecki, Andre. Exhausting Dance: Performance and the Politics of Movement. New York: Routledge, 2006. Print.
---. Exhausting Dance: Performance and the Politics of Movement. New York: Routledge, 2006. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=261301>.
Lepecki, Andre and Whitechapel Art Gallery. Dance. London: Whitechapel Art Gallery, 2012. Print.
Lind, Maria. Performing the Curatorial: Within and Beyond Art. Berlin: Sternberg Press, 2012. Print.
---. Performing the Curatorial: Within and Beyond Art. Berlin: Sternberg Press, 2012. Print.
Lippard, Lucy R. Six Years: The Dematerialization of the Art Object From 1966 to 1972. Berkeley: University of California Press, 1997. Print.
McKenzie, Jon. Perform or Else: From Discipline to Performance. London: Routledge, 2001. Print.
---. Perform or Else: From Discipline to Performance. London: Routledge, 2001. Web. <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. Print.
Morris, Robert. Location Piece | Tate. N.p., 1973. Web. <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. Print.
Nixon, Mignon. ‘Dream Dust’. October 116.Spring (2006): 63–86. Web. <https://www.jstor.org/stable/40368425>.
Nyong’o, Tavia. ‘Does Staging Historical Trauma Re-Enact It?’ Thinking Through Theatre and Performance. Ed. Maaike Bleeker et al. London: Bloomsbury Methuen Drama, 2019. 200–210. Web. <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. Lionel Bovier and Birte Theiler. Zurich: JRP, 2014. Print.
---. A Brief History of Curating. New York: JRP|Ringier, 2012. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=829682>.
Obrist, Hans Ulrich, and Marina Abramovic. Marina Abramovic. Vol. 23. Kln: Walther Knig, 2010. Print.
---. Marina Abramovic. Vol. 23. Kln: Walther Knig, 2010. Print.
O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Expanded ed. Berkeley, Calif: University of California Press, 1999. Print.
Ose, Elvira Dyangani. ‘Enthusiasm: Collectiveness, Politics, and Aesthetics’. Nka Journal of Contemporary African Art 2014.34 (2014): 24–33. Web.
‘Pan Daijing: The Absent Hour – Performance at Tate Modern | Tate’. N.p., n.d. Web. <https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-absent-hour>.
‘Pan Daijing: Tissues – Performance at Tate Modern | Tate’. N.p., n.d. Web. <https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-tissues>.
Patel, Jeram. Untitled | Tate. N.p., 1963. Web. <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’. A Companion to Narrative Theory. Oxford: Blackwell, 2005. 499–514. Web. <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): 569–577. Web.
---. ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’. A Companion to Narrative Theory. Malden, Mass: Blackwell, 2008. 499–514. Print.
---. ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’. A Companion to Narrative Theory. Oxford: Blackwell, 2005. 499–514. Web. <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’. A Companion to Narrative Theory. Malden, Mass: Blackwell, 2008. 499–514. Print.
---. ‘The Ontology of Performance: Representation Without Reproduction’. Unmarked: The Politics of Performance. London: Routledge, 1993. 146–166. Print.
---. ‘The Ontology of Performance: Representation Without Reproduction’. Unmarked: The Politics of Performance. London: Routledge, 1992. 146–166. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=179272>.
---. Unmarked: The Politics of Performance. London: Routledge, 1993. Print.
---. Unmarked: The Politics of Performance. London: Routledge, 1992. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272>.
Pollock, Jackson. Number 14 | Tate. N.p., 1951. Web. <https://www.tate.org.uk/art/artworks/pollock-number-14-t03978>.
Ranciere, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. Ed. Gabriel Rockhill. Updated edition. London: Bloomsbury Academic, 2015. Print.
Read, Alan. Theatre in the Expanded Field. Bloomsbury Publishing. Web. <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. Print.
‘Rebecca Horn – Display at Tate Modern | Tate’. N.p., n.d. Web. <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. Print.
---, eds. Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations. Bloomsbury Publishing, 2015. Web. <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. volume 31. Bern: Peter Lang, 2014. Print.
Rendell, Jane. Art and Architecture: A Place Between. London: I. B. Tauris, 2006. Print.
Ridout, Nicholas. ‘Performance in the Service Economy: Outsourcing and Delegation’. Double Agent. London: Institute of Contemporary Arts, 2008. 126–131. Print.
---. ‘’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate’. N.p., 1 Sept. 2007. Web. <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’. N.p., 2007. Web. <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?’ Thinking Through Theatre and Performance. Ed. Maaike Bleeker et al. London: Methuen Drama, 2019. 225–239. Print.
Rosenthal, Stephanie. ‘Choreographing You: Choreographies in the Visual Arts’. Move: Choreographing You: Art and Dance Since the 1960s. London: Hayward Pub, 2011. 7–11. Print.
---. ‘Choreographing You: Choreographies in the Visual Arts’. Move: Choreographing You : Art and Dance Since the 1960s. London: Hayward Pub, 2011. 7–11. Print.
Rugg, Judith, and Michele Sedgwick. Issues in Curating Contemporary Art and Performance. Bristol, UK: Intellect, 2007. Print.
---. Issues in Curating Contemporary Art and Performance. Bristol, UK: Intellect, 2007. Print.
---. Issues in Curating Contemporary Art and Performance. Bristol, UK: Intellect, 2007. Print.
Sayre, Henry M. The Object of Performance: The American Avant-Garde Since 1970. New Edition. Chicago, IL: The University of Chicago Press, 1992. Print.
Schimmel, Paul, and Kristine Stiles. Out of Actions: Between Performance and the Object, 1949-1979. Los Angeles: Museum of Contemporary Art, 1998. Print.
Schneider, Rebecca. ‘In the Meantime: Performance Remains’. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011. 87–110. Print.
---. ‘In the Meantime: Performance Remains’. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011. 87–110. Web. <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. Print.
---. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011. Web. <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. Web. <https://muse.jhu.edu/article/545170>.
Serota, Nicholas. Experience or Interpretation: The Dilemma of Museums of Modern Art. London: Thames & Hudson, 2000. Print.
Shalson, Lara. ‘On Duration and Multiplicity’. Performance Research 17.5 (2012): 98–106. Web.
Shimamoto, Shozo. Holes | Tate. N.p., 1954. Web. <https://www.tate.org.uk/art/artworks/shimamoto-holes-t07898>.
Spector, Nancy. ‘Seven Easy Pieces’. Marina Abramovic: The Artist Is Present. New York: N.p., 2010. 36–93. Print.
‘Tate Exchange at Tate Modern | Tate’. N.p., n.d. Web. <https://www.tate.org.uk/visit/tate-modern/tate-exchange>.
‘Theanyspacewhatever | Guggenheim’. N.p., 24 Oct. 2008. Web. <https://www.guggenheim.org/video/theanyspacewhatever>.
Westerman, Jonah. ‘Museum of Modern Art, New York’. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Ed. Gabriella Giannachi and Jonah Westerman. London: Routledge, 2018. 15–20. Print.
---. ‘Museum of Modern Art, New York’. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Ed. Gabriella Giannachi and Jonah Westerman. London: Routledge, Taylor & Francis Group, 2018. 15–20. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4947457>.
‘What Happened, Sherlock Holmes and the Museum Dance | Spangbergianism’. N.p., n.d. Web. <https://spangbergianism.wordpress.com/2014/10/19/what-happened-sherlock-holmes-and-the-museum-dance/>.
Wood, Catherine. ‘Painting in the Shape of a House’. A Bigger Splash: Painting After Performance. London: Tate, 2012. 10–22. Print.
---. Performance in Contemporary Art. London: Tate Publishing, 2018. Print.
---. Performance in Contemporary Art. London: Tate Publishing, 2018. Print.
Wood, Catherine, and Eda Cufer. A Bigger Splash: Painting After Performance. London: Tate, 2012. Print.