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Performing Remains: Art and War in Times of Theatrical Reenactment by Rebecca Schneider (review)

183 The most overtly feminist chapter, “High Maintenance” (chapter three), looks at works by Mierle Laderman Ukeles and Martha Rosler to ask “why certain conceptual barometers prompt us to mistake their form for content[...], their explorations of redistribution as pleas for recognition, their re-enactments of labor as essentialism” (78). Rosler hit the charts in 1975 with Semiotics of the Kitchen, a video showing an ordinary woman in a confined space become one with the sign system of food preparation. Ukeles specializes in “maintenance art,” which puts the labor of cleaning front and center. Housework is little different from the janitorial work it takes to keep a museum going, and Ukeles turned both into displays aimed at exposing the repetitive labor propping up the putatively independent worlds of painting, activism, or even arts administration.