The ramp extends across the width of the room, beginning two feet up the side of one wall and slanting down to the middle of the floor.
In his original performance of the piece, Acconci lay hidden underneath the ramp installed at the Sonnabend Gallery, masturbating.
Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art.
He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state."
[3] In 2013, Dale Eisinger of Complex ranked Seedbed the 22nd best work of performance art in history.