In A Story, the artist reflects the state of idyllic women’s labor as posed in the picture taken off the wall to the inhabited “studio” setting. The camera is both the mirror and the voyeur; the video, itself, a minefield of artistic tropes to be read as “process.” This intense process is interrupted when I take a phone call amidst the solo action, an action so precious and personal that the artist herself must document it. The risk here is not in cutting oneself, but in applying theatricality to the “authentic” form of performance art. The blood is unreal, but consistent with the artistic scene. The interruption lets slip the privilege an artist possesses in the depiction of suffering.