ON AN OTHERWISE ORDINARY night in March of 1993, performance artist Ron Athey sliced open a man's back, blotted it with paper, and hung the resulting prints on a clothes line that was then cranked above the heads of a Minneapolis audience. It was all in a day's work for Athey, a man whose physical brand of theater often blurs the line between the hospital ward and the proscenium. For one member of his audience that day, however, a more distinct line had been crossed. To that spectator, Athey's HIV-positive status meant that other people's safety had... More >>>