This concluding chapter discusses Tracking Transience, a performance both of the law and for the law. It stages the surveillance techniques of the national security state as they concentrate on the artist's racialized body. In addition, the play demonstrates the links between law and performance in the process of racialization. To do so, it draws on the tradition of body artists, such as Hanna Wilke, Yoko Ono, Chris Burden, and Karen Finley, who use the body in performance to stage, a “dislocation of normative subjectivity, reconfiguring identity politics (the way in which the subject comes to meaning in the social) and the very parameters of subjectivity itself.”
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