In 1974, Marina Abramovic placed an assortment of items on a table. A rose, a gun, a knife, a feather, a pot of honey, a whip, and so on. Objects that could bring pleasure or pain. The audience was informed that those props could be used on Abramovic over the course of the next six hours, she would not resist them. It was a famous performance: what began with gentle, playful interaction quickly devolved into an act of violence. When the gallerist announced that the performance was over, the people who had torn her clothing from her body, who had taunted her with knives and bullets, ran to the exits. For many, Abramovic’s Rhythm 0 has become a sort of myth of the human tendency to act in violence when the rules ordering interaction are suspended. The photographs of Abramovic in the aftermath are haunting.