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Abstract
In July 1996 a “bomb threat” in downtown Seattle resulted in the evacuation of buildings in a six-block radius, the rerouting of downtown busses, and ensuing total chaos. The threat turned out to be without substance. Was it art? Or was it terrorism? The artist's action prompted a string of performances, which played out on the stage of law the anxiety over the lack of a clear boundary between the real and the representation.
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© 2002 New York University and the Massachusetts Institute of Technology
2002
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