In 1999, we made Caravan Project, and it was supposed to be a durational performance, where we would bring a caravan, which is a trailer, and in the inside of the trailer, we actually pretty much made into an installation, because when we got out of the Whitney after being there the entire month, we sort of missed it. I mean our show ended, and we couldn’t return to the museum, and so we thought oh, maybe we’ll make a museum on delivery, like a little library truck, that drives around small towns. So, we bought this trailer, and all the four doors open in every side, so we open it, we drive it to wherever we decided previously. It’s advertised and announced, and people gather, but there are also people who are around without knowing what’s going on here, and the inside is beautifully lit, we have all the lighting inside, and then we typically perform somewhere between one to three hours, depending on the site.
And we had that piece for a very long time, we performed in many, many, many places. And then when MoMa wanted us to do something, between curator Doryun Chong and we decided okay, it is a caravan, but now this time inside — as if the caravan drove around and just landed to the MoMa’s lobby. So, we were literally the first thing people would see after they’re coming to the museum, so everybody had to pass right by us. They cannot go anywhere without passing our stuff, nobody could not notice. And they still had to pass again by us when they go out, because there’s only one entrance in MoMa. So, we were only there for a week, but we were there all the time. It’s a different context obviously, because we’re not in the middle of nowhere just like Breath in the Whitney, Naked at Walker, we were in a museum, people come to see art.1
Yet, we were not in one gallery. We were like there. We were kind of confronting people for — who come in. Some of them didn’t really want to see our work, but almost they have to, they had to, which was interesting. I didn’t want to be too imposing. So, we just went on our own business, so people can stay looking at us, or they can just look and then just go upstairs. And it was kind of temporarily, one week in MoMa’s gallery, of course, we are talking about thousands, thousands of people, tens of thousands of people passing by us who are coming to the museum, and one of the most famous museums in the world. So, it was challenging, I enjoyed it.