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Exploring the emergence of the rubric "time-based art" across several disciplinary formations, including performance and visual art, this editors' introduction outlines some historical theories of duration across the arts and argues for a contextual approach that accounts for both medium and institutional location. [ABSTRACT FROM AUTHOR]

An interview with artist Sharon Hayes is presented. Hayes describes the kind of desire that is reflected in photographs of queer events and the performance "Revolutionary Love: I Am Your Worst Fear, I Am Your Best Fantasy" to gay liberation. She tells how she embarked on the organizing of local queer groups who participated in the performance. She also discusses the performance "In the Near Furture" and protest signs.

The article focuses on the costuming and visual self-presentation of the two radical genderfuck performance groups Cockettes and the Angels of Light, which worked out of the Bay Area, California during the 1960s and 1970s. The groups performed an activist embrace of 'decadent' surface by juxtaposing traditional signs of femininity like crochet and embroidery.

Interviews Miranda July, a performance artist based in Portland, Oregon. Perspective of July on the use of technology in art; Performances done by July; Improvisations in the works of July; Relevance of her works to the establishment of Joanie 4 Jackie, an independent woman-made video distribution system.