Bertie Ferdman - Off Sites: Contemporary Performance beyond Site-Specific

I am grateful for all the artists who took the time to speak with me, read excerpts of the manuscript, exchanged emails, or allowed me to include images of their work. Thanks to Glgn Kayim, Nicols Goldberg, Erika Latta, David Levine, Marsha Ginsberg, Ant Hampton, Nomie Lafrance, Lola Arias, Gabriele Schafer, Nick Fracaro, Jeff Stark, Michael Rohd, Aaron Landsman, Karin Holmstrm, Mary Ellen Strom, Juliana Francis-Kelly, Anne Hamburger, Adam Soch, Jim Findlay, Christina Campanella, Okwui Okpokwasili, New York City Players, Gob Squad Arts Collective, LAPD, Henritte Brouwers, Dominic Huber, Margaret Morton, and Brian Rose.

This book has developed over the course of many years, and I am thankful for the feedback I have received from peer scholars through multiple ASTR Working Groups (Time, Sixties, Public Sphere), as well as IFTRs Architecture Working group, in particular, Andrew Filmer and Juliet Rufford for welcoming me and providing feedback on early versions of what eventually became . I am especially grateful for the generous exchange with friends and colleagues who read portions of the manuscript and discussed particular chapters with me: Peter Eckersall, Jovana Stokic, Daphnie Sicre, and Jill Samuels.

Thank you to Frank Hentschker and the Martin E. Segal Theatre Center for providing a space to bring artists and hold public forums and symposia that featured many of the artists I discuss in this book. A special thank you to Mariellen Sanford, for her editorial prowess, guidance, and invaluable feedback. I am also indebted to Scott Magelssen, who saw the potential for a book in a meager twenty pages, and encouraged me to propose a book for this series. I am thankful for his continued generosity, encouragement, and feedback throughout the manuscripts various iterations.

Thank you as well to all my colleagues at Borough of Manhattan Community College (BMCC) for their support throughout the years. I was privileged to have received numerous PSC-CUNY grants and BMCCs Provost Funds to support my research, as well as a Faculty Publication Fellowship, whichallowed a lighter load in order to be able to balance teaching with completion of the manuscript. I would also like to acknowledge Kristine Priddy, acquisitions editor at Southern Illinois University Press, who put together the manuscript, for her patience and dedication throughout this process, as well as the anonymous peer reviewer who provided me with insightful ways to improve the clarity of the book.

Portions of appeared in an earlier version in PAJ (Off the Grid: New York City Landmark Performance, PAJ: Journal of Performance and Art 37, no. 2 [May 2015]: 1329); with thanks to Bonnie Marranca for commissioning the essay.

This book could not have been written without the unconditional love and support I have from my friends and family. A personal thank you to my mother, Debora Ferdman, who provided countless hours of childcare, love, and support, and a passion for the arts. Merci a mon partenaire quotidian et de la vie, Julien, pour ton indispensable encouragement, et amour, toujours, y por supuesto, a mis luces y adoradas Talia y Paloma.