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Graduate art student Matthew Keeney's latest piece of performance art, in February, called "The Waiting Project," had him standing on streets in Syracuse, N.Y., waiting for someone to ask him what "The Waiting Project" is. In previous pieces, Keeney had held a "Super Bowl party for one" on a park bench, had earnestly watched ice sculptures melt, and had walked from the Capitol steps in Washington, D.C., to the Lincoln Memorial but stopping each time he heard a car horn and then starting again when he heard another.

Two aggressive art pieces sexualizing Jesus' Last Supper were displayed earlier this year: Among the 74 plaster models shown in Gateshead, England, in January by British artist Terence Koh was one of Jesus and several disciples sporting generous erections. And in March, a retrospective of Austrian Alfred Hrdlicka went on display in the Cathedral Museum in Vienna, with the blessing of the archbishop of Vienna, even though it included a painting of the Last Supper as a "homosexual orgy," in Hrdlicka's description (because, he said, there were no women in the original Da Vinci painting that inspired it). (That piece was removed during the first week, after complaints.)

Last year, Montreal, Quebec, artist Michel de Broin created, as art, the hollowed-out shell of an old Buick powered only by a four-seater bicycle (with hand brakes, or, failing them, Fred Flintstone-type brakes). Nonetheless, when a group took the car out for a spin last October, an overzealous officer ticketed them for "driving" an unsafe "car," but in April, after a daylong court hearing, the charges were dropped. [Toronto Star, 4-24-08]

No Man's Land: "The Bride of Palestine" (a 26-year-old drag queen) is the best-known of a group of sexually uncertain Israeli Arabs who gather in underground venues in Tel Aviv and "struggle to define themselves," according to a March dispatch from McClatchy Newspapers. Though they are proud Palestinians at odds with the "occupying" Jewish society, some feel even more rejection by their own conservative communities and seem grateful that the "oppressors" permit the spaces that one woman called her "only refuge." [McClatchy Newspapers, 3-5-08]

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