In a four hour performance piece, feminist artist Mierle Laderman Ukeles mopped the pavement in broad strokes and used cloth diapers to hand scrub the outside steps of the Wadsworth Atheneum Museum of Art in Hartford in Washing Tracks, Maintenance Outside (1973). Anyone entering or leaving the institution that day would have seen her body bent over in the mundane posture and motion of repetitive labor. Ukeles effectively bookended the viewers’ museum experience, making a lingering impression. In 1991, the conceptual artist Félix González Torres created a 175 pound pile of candies, individually wrapped in brightly colored cellophane. Today, Torres’ vibrant installation, which is meant to represent the weight of his partner before he became sick and died of AIDS, sits in one corner of the white cube of the Art Institute of Chicago. Viewers are encouraged to touch the work, which is simply titled Untitled (Portrait of Ross in L.A.), and even take a piece of candy because the museum continually replenishes the supply. In an entirely different interactive exhibition at the Venice Biennale entitled Persons Paid to Have Their Hair Dyed Blond (2001), Santiago Sierra paid 133 illegal street vendors sixty dollars each to cram into a space and submit to bleaching their hair. Right afterwards, in a second unconventional “intervention,” Sierra allowed the men to sell fake designer bags to the audience. In these disparate but connected works, Ukeles, Torres and Sierra all engage the political.