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The Infinity Machine: Mike Parr’s Performance Art, 1971–2005 (review)

189 Ultimately, Kuftinec’s text is not about creating a nirvana where all inhabitants divest themselves of their historical baggage and live together in peace. Rather, it seeks to create a space in which the very messiness of nation formation and historical memory can be en-acted, critiqued, and re-membered by all participants. She sees this process as one of continuous movement, in which all members continue to raise self-awareness of their own complicity in perpetuating cultural stereotypes and behaviors. As Kuftinec concludes, “theatrical facilitations are vital not because of the answers provided, but because the questions enabled can enact our very being through the presence of others” (180).