Principally, the artist's intervention is so designed that the other people in this situation (at first pedestrians on the street, later visitors in museums and galleries) are enabled to share a lively experience. The "subjects" of performances and installations are never alien to there location; rather, it could be said that they are identical with the location in a different aggregate state. In this respect Gerz seems to continue the work of the French situationists whose détournements of the early 1960s came close to performance art.

Herbert Molderings 1984