What if an art critic had broken the news of Osama bin Laden's death?
Today's site-specific performance, sponsored by a collective which ironically identifies itself as "The United States Navy," invites the viewer to contemplate the intimate, or indeed as some critics have suggested "deadly," relationship between the observer and the thing observed. Obviously, it is the nature of all site-specific art to raise profound questions of place, and indeed terroir, in light of western civilization's tragic, and indeed hand-wringing, history of colonialism. In this regard "The United States Navy" is to be commended for its culturally-sensitive decision to show appropriate respect for local and indigenous peoples by simply not informing them of what was about to happen. Naturally, my use of the term "informing" in the preceding sentence may suggest to this publication's more intelligent and generous supporters a long-discredited, naive, and indeed arguably "racist" position on the question of whether there even is such a thing as "information" or "truth," and if so whether the "fact" that I proofread this article and expected its purchasers to find it in "print" in a particular place may undermine my ironically "hip" intimations that all truth is relative. Please be assured that nothing of the kind could be further from the "truth," or indeed from my capacity for understanding.