For example, in describing a water fountain, Fraser proclaimed it "a work of astonishing economy and monumentality ... it boldly contrasts with the severe and highly stylized productions of this form!

"[9] The tour is based on a script that pulls from an array of sources: Immanuel Kant’s Critique of Judgment; a 1969 anthology of essays called On Understanding Poverty; and a 1987 article in The New York Times with the headline "Salad and Seurat: Sampling the Fare at Museums".

[10] In Kunst muss hängen ("Art Must Hang") (Galerie Christian Nagel/Cologne, 2001), Fraser reenacted an impromptu 1995 speech by a drunk Martin Kippenberger, word-by-word and gesture-for-gesture.

Midstream, assuming the persona of a troubled, postfeminist art star, Fraser strips down, [...] to a Gucci thong, bra and high-heel shoes, and says, I'm not a person today.

"[13] Her videotape performance Little Frank and His Carp (2001),[14] shot with five hidden cameras in the atrium of the Guggenheim Museum Bilbao,[15] targets the architectural dominance of modern gallery spaces.

Using the original soundtrack of an acoustic guide at the museum, she "... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space.

[16] In her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter at the Royalton Hotel in New York with a private collector, who apparently paid close to $20,000 to participate,[17] "'not for sex,' according to the artist, but 'to make an artwork.