This chapter focuses on two particular strategies inherent in Lacy's new genre public art—the embodiment and spatiality comprised therein, which the author considers the artist's most powerful modes of communicating social and aesthetic mores. In particular, Lacy uses the convergence of bodies in spaces as both artistic as well as social forms of expression, with the understanding that a discourse with our own bodies can reveal insights into power structures—their spaces and relationships that converge at many levels in the real world. And by coproducing discursive spaces with others, Lacy kept bodies, power relationships, and spaces particular and avoided the distancing quality of “others” and “out there.” The “betweenness” of these spaces has characterized Lacy's social narratives well into the 1980s, reinterpreting social spaces created around urban settings.
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