Nick Kaye: Following Window Project (1991), Oursler’s introduction of projections onto the figure of the dummy from 1992 brought his engagement with presence to the fore. Articulating the video image’s occupation of the “real” spaces and times it would ostensibly transcend, while creating strongly ambivalent plays between the animated dummy as mirror (of the viewer’s body in real space) and surrogate (of the artist as performer), these works placed the spaces and times of performing and viewing at the center of the work. In this focus, Oursler suggested to Kelley, “I’m interested in putting the video into the exterior world and letting it function there,” such that “[v]ideo no longer acts as a window to look through but is somehow made physical.” (Oursler in Kelley 1999: 38-55)

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