Michael Prodger | The New Statesman | 21st September 2023
Abramović’s most critically acclaimed work was Rhythm 0 in 1973 when audience members nearly assaulted her. Wider recognition, though, came from a 2010 work where she sat in a New York museum for 700 hours. Her works, especially when done by hired performers for a London show, don’t persuade this writer. “Abramović needs buy-in from the viewer. Her catalogue of self-harm provokes a reaction, but to what end is less than clear.” A review of her key works is here.