Performance becomes anti-performance in I Am Making Art (1971, 18:40 mins, B&W), John Baldessari's deadpan study of bodily gestures. Shifting his body into a seemingly endless array of postures while uttering the phrase “I am making art,” Baldessari amasses an index of movements. Ironically, the act of indexing catapults the movements into objecthood by declaring their qualities known. In Practisse (1994, 6:40 mins, Color), Cheryl Donegan's bodily gestures also transform movement into object. Using a pane of glass and a clear plastic hood, she creates another in her series of “face paintings.” Emily Vey Duke uses her body as a last resort in the wryly performed The Fine Arts (with Cooper Battersby, 2002, 3:40 mins, Color), a highly original look at creative exhaustion. Principally a photographer, Baldessari was more interested in evoked meaning than appearance. In Ed Henderson Suggests Sound Tracks for Photographs (1974, 27:51 mins, B&W), he describes various photographs from National Geographic while Henderson picks out syrupy sound tracks as accompaniment. The collision of decontextualized image and sound taps into our vast cognitive cliches. With a performance both physically aggressive and sarcastically sharp, Tony Labat's Room Service (1980, 7:37 mins, Color) attaches cultural disorientation to the strangeness of language.