“What is it with this ballet thing?” Martin Creed asks, about 10 minutes into Work No. 1020, which he directed, choreographed and composed, and in which he is at that moment performing. A dancer stands in the balletic first position. “Why would you stand like that?”He is in the middle of explaining the premise of Work No. 1020 to the audience, in an affable, waffling style.
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