Abstract

This essay takes the performance artworks of Tehching Hsieh as instructive allegories for a global ethics as theorized by a variety of left academics who ground universalism in a singularity that escapes the predicates of identity. Hsieh's projects, I argue, also place universal estrangement in the service of liberation for particular marginalized groups whose lives confound our fantasies of recognition. At the same time, they illustrate some of the challenges facing attempts to treat particular struggles as embodiments of universal conflicts.