Vito Acconci Movies

Contacts is one of a series of tapes in which Acconci creates a controlled performance situation to explore the limits of a private space. Applying...

“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he...

Standing alone among beach dunes, Acconci begins to kick at the sand below him. Over the course of the film's ten minutes, this repeated action...

In these three exercises, Acconci plays with trans-gender illusions, manipulating and altering his own body parts to suggest sexual transformations.

A super-8mm work documenting Acconci's audio installation piece in the Sonnabend gallery in 1972 of the same name.

"A long narrow corridor, leading to the camera—at one side, a window—sun streams in, splotches of light and dark, the corridor shimmers....

Acconci's body-based performances are often willfully provocative in their testing of physical limits and controlled actions. Here, as the camera...

Documentation of an evening of three simultaneous performances (Terry Fox, Dennis Oppenheim, Vito Acconci), in January 1971. In each alcove a light...

The final installment of the Conversions trilogy.

Acconci imitates the sounds of war, gunfire and explosion; he thrusts his face, stomach or penis onto the screen. His childlike battle sounds are...

Acconci oftens performs controlled actions as if he had entered into a contractual agreement to test his physical limitations. In Grass/Mouth,...

Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency...

This early performance tape is an example of what Acconci has termed his "quasi-ESP exercises," in which he explores mental concentration and...

"A view of a brick wall: the artist enters and walks from one side to the other, back and forth, row after row." - Electronic Arts Intermix

A super-8mm document (blown up to 16mm) of Acconci's performance of the same name in which he covered almost the entirety of the gallery space with a...

"In another exploration of nonverbal communication, the camera moves back and forth, each time catching one of Acconci's hands in an expressive...

Super-8mm footage documenting the gallery set-up for Acconci's exhibition AIR-TIME at Sonnabend Gallery in 1973.

In the late 1960s, Vito Acconci abandoned poetry in order to work with the body and its relationship with space, although he did retain a commitment...

A woman kisses Acconci's body, covering him in red lipstick traces. Acconci then rubs his body against another man (Dennis Oppenheim), transferring...

In Two Track, Acconci experiments with direct and peripheral perception of information in the context of communication and interaction. He sits with...