Violations of taboos and staged interactions, evoked, for example, by means of his own person or involving outside persons, are likewise to be found in performances such as Untitled Project (Piece for Pier 17), which focused on the exposure of unpleasant or embarrassing secrets, and Security Zone, which took as its topic proof of trust shown toward utter strangers. Here, Acconci increasingly accorded the viewer a more important role until, in his Command Performance  the beholder donned the role of the artist and the person of the artist withdrew from the works. In Command Piece you hear the artist calling on the viewer to perform certain actions and to then feel important [»You'll certainly look great there.«]. In the context of interacting with the audience, Acconci stated that his works had "hitherto been too private ... I was afraid of going beyond myself ... and discovering the world ... you can show me, how strong you are ... big ... public.«  Acconci thus caused a confrontation in which the viewer was manipulated as a prop in a saidstic game, while the other viewers watched this voyeuristically on a second screen.
1 Vito Acconci, Performance after the Fact, in Documents sur l’Art Contemporain, N. Bourriaud,, Paris, 1992. ^
2 Florence Gilbard, An Interview with Vito Acconci. Videoworks 1970-1978, in Afterimage, vol. 12, no. 4, 1984, p. 9. ^
3 See the exhibition Software, Jewish Museum, New York, September 1970. ^
4 Vito Acconci, quoted from Kate Linker, Vito Acconci, New York 1994, pp. 61-2. ^