1. Publishers’ Note
  2. Bonnie Marranca, Gautam Dasgupta
  3. p. 2
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  1. Death Destruction & Detroit: Robert Wilson’s Tale of Two Cities
  2. Ruth Walz
  3. pp. 3-7
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  1. Carolee Schneemann: More than Meat Joy
  2. Robert Coe
  3. pp. 8-15
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  1. Fluxus: “The Exquisite Corpse Stirs”
  2. Ken Friedman
  3. pp. 16-20
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  1. What Is Performance Art?
  2. pp. 22-23
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  1. Paris Letter: (In the Form of an Interview)
  2. Ralston Farina
  3. pp. 24-28
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  1. Auto-Interview: Richard Foreman talks to himself [and whoever else is listening] about Strong Medicine [un film]
  2. pp. 29-34
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  1. Nijinsky and Bound Feet by Winston Tong (review)
  2. Daryl Chin
  3. p. 35
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  1. Waterfall by The Theatre of Mistakes (review)
  2. John Howell
  3. pp. 35-36
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  1. The Grand Dance by Deborah Hay (review)
  2. Daryl Chin
  3. pp. 36-37
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  1. Dance for a Shaggy Princess by Toby Armour, and: Micro Modus by Aileen Passloff (review)
  2. Daryl Chin
  3. pp. 37-38
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  1. Thick as Thebes by Pooh Kaye (review)
  2. Margaret Eginton
  3. pp. 38-39
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  1. The Circular Heavens by Peter Rose (review)
  2. Bonnie Marranca
  3. pp. 39-40
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  1. Eleventh Spectacle (The Erotic) by Stuart Sherman (review)
  2. Peter Stickland
  3. pp. 40-41
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  1. Southern Exposure by JoAnne Akalaitis, and: Before the Revolution by Eleanor Antin (review)
  2. Bonnie Marranca
  3. pp. 41-42
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  1. Everyday Business by Cindy Lubar (review)
  2. Margaret Eginton
  3. pp. 42-43
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  1. Bob & Bob, and The Kipper Kids
  2. Peter Frank
  3. pp. 43-45
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  1. The Juniper Tree by Joan Jonas (review)
  2. Dale Worsley
  3. p. 45
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  1. Better, Stronger by Ed Bowes (review)
  2. John Howell
  3. pp. 45-46
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  1. Americans on the Move by Laurie Anderson, and: Solo by Phil Glass (review)
  2. Bérénice Reynaud
  3. p. 46
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  1. Americans on the Move: Parts I and II by Laurie Anderson (review)
  2. Gautam Dasgupta
  3. p. 47
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