The author proposes a discussion around the idea of viewing and analyzing a performance solely through documentation. She analyses the importance of body art saying that as it exists (this includes its existence through documentation) within a framework in which the piece enacts dispersed, multiplied, specific subjectivity's of the late capitalist, postcolonial and post modern era. She suggests that it is through its (re)presentation whereby the work of art challenges more thoroughly masculinism, racism, colonialism, classism and heterosexism. Amelia Jones argument uses three case studies which include Carolee Schneeman, Ya Yoi Kusama, and Annie Sprinkle.