[1][2] The group has attracted attention with the subversive, humorous and erudite style of their work and operates an unaccredited art school, the Bruce High Quality Foundation University.
[8] In 2016 Bruce High Quality staged "As We Lay Dying," an immersive multimedia installation including sculpture and performance at The Watermill Center on Long Island, New York.
[4] In the fall of 2009 the group would answer its own question by launching an unaccredited art school, the Bruce High Quality Foundation University, where "students are teachers are administrators are staff.
"[2][12] A proposition during Prelude 09 [13] took the form of a "project-based" course at the Martin Segal Theater at CUNY Graduate Center and at Performa 09's X Initiative;[14] titled "Art History with Benefits", the lecture-performance promised to examine the romance "figuratively and literally" between cultural funding and sex.
[17] In 2015, the schools leading participants included David Salle, Brad Troemel, Andrew Norman Wilson, Vito Schnabel, Haley Mellin, Elizabeth Jaeger, Nicole Wittenberg and Nathlie Provosty alongside emerging and recent graduates.
[18] In 2018, the designer, researcher and artist Caroline Sinders noted Victoria Campbell and Ana Cecilia Alvarez’ "utilitarian, socially minded approach to art-making" as paradigmatic of what Tania Bruguera calls "Arte Util"— or purpose-driven practice.
“Sex ed” was included as part of the school’s full-time, seven-week semester line-up the following year, and was geared towards a student body consisting of “artists, public intellectuals, working mothers and whores.”[19] The Bruce High Quality Foundation University closed in 2017.
[3] In December 2013, Jesse McKinley further explained, "Devoted to the idea that an artwork should stand on its own — without the artist’s identity or biography affecting its worth — the group’s no-name ethos has, perhaps intentionally, proven to be a potent and lucrative creative tool for members and a seductive draw for collectors.
[23] The Bruce High Quality Foundation is part of a long history of artists using fictional identities in contemporary art, although the use of pseudonyms in the literary world has a much richer and more established tradition.
In the late 1990s, the artist Walid Raad began constructing elaborate fictions chronicling the contemporary history of his native Lebanon, signing his work The Atlas Group and presenting it as a body of collective scholarship.