PATTY CHANG

In early May, Patty Chang sent an email asking me to enumerate my fears. “The fears can be about anything,” she wrote. “They can be personal, global, societal, mundane or profound; everything is valid.” Her only stipulation was that the list be written stream-of-consciousness style. As part of a project she has been working on recently, called Milk Debt (2019–), she asked several people in Hong Kong to complete the same exercise. She explained that she was compiling these lists into one long script for a performer, who read out the text while pumping breast milk into a bottle in a live performance that took place in June at Tai Kwun in Hong Kong.

Milk Debt unpacks many of Chang’s recent concerns around grief, mortality and the environment, yet also harkens back to her earliest works—which dissect the body and identity—developed during her provocative early years in New York beginning in the mid-1990s. Though she was initially interested in becoming a painter, she pivoted to performance after studying under artist Eleanor Antin—a performance artist who famously took photographs of her naked, emaciated self during a month of crash dieting—for her BFA at the University of California San Diego. After graduating in 1994, she moved to New York and aligned herself with experimental art and underground club movements, performing at art spaces such as Exit Art and downtown galleries, as well as intersectional venues such as the Meatpacking District’s Clit Club and Performance Space 122 in the East Village. At these events, Chang staged seemingly unscripted actions that perverted tropes of femininity, such as holding a crystal ball between her teeth, forcing herself to smile, while wearing a traditional white wedding gown; gorging herself on phallic hot dogs; or smashing eggs that she had stuffed inside her pantyhose, with the ovum sliming down her legs and ruining her prim, working-girl suit.

Around the same time, Chang began to record these performances on video and, separately, to make short Super 8 films, having been exposed to video’s possibilities through her gigs with a New Yorkbased cybersex company. “We had little platforms covered with felt and these little video cameras on