ON A STOOP IN TRIBECA just south of Houston, Tehching Hsieh was drinking tea. It was February 1982. Six months had elapsed since the artist embarked on his third One Year Performance, for which he declared he would “stay outdoors for one year” and refuse to enter any “building, subway, train, car, airplane, ship, cave, tent.” A record-breakingly cold winter expelled even the memory of warmth from the city, and Hsieh had allowed his hair, normally kept at a military buzz, to grow into an untidy mane. Together with his sleeping bag and weathered backpack (where he stowed his camera), he must have