In these ways, rather than offer itself as "a work" to be "read", Morris' unitary form presents a kind of visual and physical obstruction. Yet it is precisely in this event that this form demands that the viewer negotiate bodily with its placement and dimensions. Thus, for Morris:

It was a confrontation with the body. It was the notion that the object recedes in it's self-importance. It participates in a complex experience that includes the object, your body, the space, and the time of your experience. It's locked together in these things.
(Morris 1997)

p.27

'Our position in society is structured through bodily experience with architecture'

p.38

I complete the body(the architectural form) after I learn what that body can do, what the ability of the body to speak is. This is a kind of phenomenological investigation[...]I need to assign speech to each part of a particular building so that it will be able to speak in my terms, to speak in a more specific way than it already does.

p.39

In Two Jumps for Dead Dog Creek Oppenheim's performance presents itself not only in relation to a specific site but in its place: here, in fact, not only is the body engaged in a mapping of the site, but this performance of the dimensions of a specific place maps out the physical tolerances of the body.

p.157


Site specific art:Performance, place and documentation-Nick Kaye