EH: Language is a strong element in your work, and performance is an analytical, expressive and reflexive way to make art and engage with spectators in very direct way. How did you become a conceptual artist and how did you model your identity through performance?
MW: My parents raised me as a quaker, the quaker is where the big weirdos went in England in the 1600´s, and they got thrown out and found Pennsylvania so I was raised in Newton Pennsylvania, and then I went to a quaker college in Ohio and we were fighting the Vietnam war when I graduated from Wilmington College in 1969. Pretty much at the hight of the Vietnam war, we had something called the “Kent State shootings” the following year the 1970, when the national guard just shot students in the campus in Ohio, some miles away from Wilmington. So, my boyfriend didn´t want to be drafted and I got a better scholarship from Canada, anyway, and we moved to Halifax, Nova Scotia in 1969. He was getting a Master in Fine Arts at the Nova Scotia College of Art and Design, I was getting a master in English Literature at Dalhousie University, so I come from language to art, so we get there and it´s the coolest art school in North America because they were bringing all the conceptual artist of the day through the school Vito Acconci, Dan Graham, Joseph Kosuth, Joseph Beuys, Peter Kubelka, also European artists, most of them boys. most of them white. Lawrence Weiner, Richard Serra, Ian Wilson. Anyway, There´s a piece by John Davis that really annoyed me. He was moving in a public park, where he stablished a bird feeder, and a bird used the bird feeder and he moved the bird feeder three feet everyday through the park, so he was enlarging the territory of the bird.