In 1974, Abramović learned that the body is the only thing an artist truly possesses, and by pushing it to its limits, she exposed the fragility of the human condition.
This is arguably Abramović’s most famous work, often cited as a terrifying sociological experiment. marina abramović performance 1974
The performance demonstrates how removing agency and verbal resistance transforms a human being into a “thing.” Once Abramović declared herself an object, the audience felt licensed to act without empathy—a stark illustration of what social psychologists later called deindividuation. In 1974, Abramović learned that the body is
Abramović stood motionless next to a table containing 72 objects. A simple placard invited the audience to use these items on her body as they wished, stating that she took full responsibility for the duration of the performance. Abramović stood motionless next to a table containing