All of the critics agreed. Hans Feckenbruke’s performance piece, “Transcending Irony: post-post-modern capitalism in the Western World, from the top of the Chrysler Building, as seen from the perspective of consumers on the ground,” was a spectacular — if messy — achievement.
“I’ve never seen an artist commit so completely to his work before. He didn’t even flinch as he approached the pavement,” Filmore Snoot told this photographer.
“It’s a shame he wore those tennis shoes, though. It undercut the whole commentary.”