as had been the case in their previous performances (such as quem sou and quem sou #2), with this performance, bonneville sought to point the finger and ironically expose a moment in portugal when journalists and programmers tended to favor certain performance works and artists that imbued their pieces with a cold and distant aesthetic and attitude, mimicking the peak of the conceptual minimalism of the 1960s, poorly disguising mere pantomime with academic discourse. bonneville’s attitude was then to challenge these norms, exposing them to ridicule through irony and a campy attitude and aesthetic, contrasting it with the sterility of such minimalism, dismantling the supposedly superior facade of a parochial and arrogant art world.