This tech allows the artists the opportunity to archive every one of their performances and then distribute them to their fans. After living for some time as a man, Brandon was publicly revealed to be a woman by the local paper. In 1996, the court sentenced Lotter to death. With technical grace and an unprecedentedly epic scale, Brandon makes a bid to become the inaugural piece in the canon of online art. The Guggenheim explicitly intended it that way.
Viewers can delve into related material by exiting into various exhibition spaces.
It's no surprise that the work is so radically disjunctive. Guggenheim curators had held off selecting interactive art for the permanent collection because they felt that the current state of digital art just wasn't strong enough. It figures that the first piece to pass muster would not be the product of an individual but of a network of contributors a process more akin to theater work than to visual arts. The site will be exhibited regularly on the museum's video wall, and in the fall the Guggenheim will begin the live elements of the exhibition. A Brandon-inspired symposium on medicine, sexuality, and technology will come first.