Robinson: In your book, Art in Everyday Life (1981), you photodocumented thirty-nine different performances with a few words about “art” and a few words about “life” for each piece. I was very interested in the way in which you had produced that book and, in particular, the way in which your writings set up a parallel between the time of the art piece, the development of your work and its various manifestations, and the changes and shifts in your life. Could we start by talking about how we can now look back through time at time-based work through its documentation? I came to know your own work, for example, through photographs, through writing, through the writings of other people and so on. I haven’t been able to see the majority of your work really because it has been situated in time-based performances, mainly in the USA. I wondered if you had anything to say about that to start with and your interest in time in general?