Artists Dedicated a Year Bound Together with Rope

In 1983, two artists collaborated in an unforeseen manner. For a full year, Tehching Hsieh and Linda Montano were tethered by an 8-foot rope secured around their waists. However, in spite of their continuous closeness, Hsieh and Montano adhered to a stringent, self-imposed guideline: they were prohibited from touching one another, save for accidental contact. From July 4, 1983, until July 4, 1984, the artists rested in distinct beds just feet apart; one would shower while the other waited outside the door; Hsieh accompanied Montano in her teaching role; and throughout the endeavor, they captured photographs of each other every single day.

The project, named *Art/Life: One Year Performance 1983–1984 (Rope Piece)*, tested the boundaries of endurance, privacy, freedom, control, and dedication. Even the simplest tasks, be it cooking or commuting, became grounds for negotiation, compelling both Hsieh and Montano to navigate their own identities while accommodating each other’s. Viewed as a whole, the performance represented one of the most intense demonstrations of artistic collaboration, necessitating vulnerability and awareness at every moment.

“We had numerous disagreements, and I don’t see that as negative,” Hsieh reflected in an [1984 interview](http://www.ghosttt.com/rope-piece-a-one-year-performance-piece/). “Anyone tied like this, even a nice couple, would surely quarrel. This piece is about existing like an animal, exposed. We cannot conceal our negative aspects. We cannot be timid. It transcends mere honesty—we display our frailties.”

Montano shared a similar view, estimating that she and Hsieh disagreed 80% of the time. Not only did both artists [envision the project](https://www.artforum.com/events/tehching-hsieh-linda-montano-224861/) differently, but they frequently clashed over immediate needs and desires, as noted in a 1984 *Artforum* article. At times, the duo would physically tug at their sides of the rope. Other occasions saw them withholding communication, further complicating their ongoing collaboration. Most challenging of all was the ability for either to reject actions proposed by the other, with the negative response outweighing the affirmative one. Ultimately, immobilization characterized the piece, highlighting the challenges posed by the performance.

“We were evolving to be more animalistic,” Montano remarked about *Art/Life*. “Much like monkeys, we started communicating with sounds and groans. We nearly ceased talking.”

That said, *Art/Life* was not the first instance of Hsieh and Montano engaging in intense performance-based works. From 1981 to 1982, Hsieh resided on the streets of New York, pledging to avoid any form of shelter for a whole year, even in winter. The year prior, from 1980 to 1981, he punched an office timecard every hour, disrupting any semblance of a regular routine. His *Cage Piece*, from 1978 to 1979, featured the artist existing in confinement within a cell-like space, forsaking any interaction with the outside world.

Montano has initiated similar endeavors, such as *Handcuff* from 1973. As the title implies, this performance revolved around Montano being handcuffed to fellow artist Tom Marioni for three days. For 10 minutes each day, the pair would film a video documenting their experience. In *Three Day Blindfold* from 1974, Montano wore a blindfold for three days, navigating through her surroundings through touch.

In many respects, *Art/Life* represented a natural evolution for Hsieh and Montano. The artwork significantly expanded on each of their individual practices, ultimately creating a striking portrayal of human connection under extraordinary conditions.

“I wanted to create one piece about human beings and their conflicts with one another,” Hsieh [stated regarding the performance](https://www.tetragrammaton.com/art/art-life-one-year-performance). “We cannot traverse life alone, without others. Yet, in togetherness, we become each other’s cage.”