How Miles Greenberg Got “WAR” Past the Censors
“There was not a single outlet, institution, or gallery that wanted to get behind this thing,” the artist told Hyperallergic about his new, six-hour performance piece.
Miles Greenberg's interest in performance art began at a young age after he saw Marina Abramović's The Artist Is Present at the Museum of Modern Art. Growing up, he trained under notable figures in the field, including playwright Robert Wilson, choreographer Édouard Lock, and his mentor, who is considered the "grandmother of performance art." This early exposure influenced his artistic vision, leading him to create works that share more in common with painting and sculpture than with traditional performance art.
Greenberg's latest piece, "WAR" (2026), presented on October 29, is a six-hour durational performance organized by Performa and curated by Zoe Lukov. Over forty performers walked on treadmills in the site of a former 86th Street Cinema in New York, accompanied by a trance-like score by artist Chino Amobi. The work aims to explore the complexities of war and its impact on humanity.
When asked about the decision to focus on war as the subject of this particular piece, Greenberg explained that his work often references martyrs, saints, and warriors from various historical periods. He believes that these figures have been canonized by Western societies as a means of imparting moralistic teachings, and he sees value in engaging with these stories.
By situating himself within this tradition, Greenberg aims to attribute value and clarity to his own practice, rather than positioning it as marginal or separate.
Greenberg also acknowledged the limitations of endurance in performance art, noting that it can sometimes be seen as a shock value tactic rather than a genuine exploration of the subject matter. In "WAR" (2026), he sought to delve deeper into the complexities of war by having performers move in a trance-like state, ultimately questioning the nature of human conflict and its lasting effects.
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