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[[File:'City of Words', lithograph by Vito Acconci, 1999.jpg|thumb|right|250px|''City of Words'', [[lithograph]] by Acconci, 1999]]
[[File:Graz - Murinsel1.jpg|thumb|upright=1.5|[[Murinsel]] (in the night) in [[Graz]], [[Austria]]]]
'''Vito Acconci''' ({{IPA-|it|ˈviːto akˈkontʃi|lang}}, {{IPAc-en|ə|ˈ|k|ɒ|n|tʃ|i}}; January 24, 1940 – April 27, 2017)<ref name="artnews">{{cite news|last1=Russeth|first1=Andrew|title=Vito Acconci, Whose Poetic, Menacing Work Forms Bedrock of Performance, Video Art, Dies at 77|url=http://www.artnews.com/2017/04/28/vito-acconci-dies-at-77/|access-date=28 April 2017|work=ARTnews|agency=Art Media|publisher=Sarah Douglas|date=28 April 2017}}</ref><ref name="nytimes">{{cite web |url=https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html |title=Vito Acconci, Performance Artist and Uncommon Architect, Dies at 77 |first=Randy |last=Kennedy |date=April 28, 2017 |work=[[The New York Times]] |access-date=April 30, 2017|archive-url=https://archive.today/20170430074005/https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html?_r=0 |archive-date=2017-04-30}}</ref> was an American [[performance art|performance]], video and [[installation art]]ist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His performance and video art<ref name="newyorker">{{cite magazine |url= https://www.newyorker.com/culture/culture-desk/postscript-vito-acconci-1940-2017 |title=Postscript: Vito Acconci, 1940–2017 |first=Andrea K. |last=Scott |date=April 28, 2017 |magazine=[[The New Yorker]] |access-date=March 20, 2018}}</ref> was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity,<ref name="nytimes" /> and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world.<ref name="atlantic">{{cite web |url=https://www.theatlantic.com/entertainment/archive/2017/05/vito-acconcis-sensational-performance-art-and-the-shifting-standards-of-pc-in-museums/524919/ |title=Vito Acconci and the Shelf Life of Sensational Art |first=Kriston |last=Capps |date=May 3, 2017 |work=[[The Atlantic]] |access-date=March 20, 2018}}</ref><ref name="guggenheim">{{cite web |url=https://www.guggenheim.org/artwork/artist/vito-acconci |title=Vito Acconci, Guggenheim Collection Online |work=[[Solomon R. Guggenheim Museum]] |access-date=March 20, 2018}}</ref> His work is considered to have influenced artists including [[Laurie Anderson]], [[Karen Finley]], [[Bruce Nauman]], and [[Tracey Emin]], among others.<ref name="atlantic" />
Acconci was initially interested in radical poetry, creating [[0 to 9 Magazine]], but by the late 1960s he began creating [[Situationist]]-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were ''Following Piece'' (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and ''[[Seedbed (performance piece)|Seedbed]]'' (1972), in which he claimed that he masturbated while under a temporary floor at the [[Sonnabend Gallery]], as visitors walked above and heard him speaking.<ref name="met">{{cite web |url=https://www.metmuseum.org/art/collection/search/266876 |title=''Seedbed'', Vito Acconci, The Met Collection Online |work=[[Metropolitan Museum of New York]] |access-date=March 20, 2018}}</ref>
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