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Between 2005 and 2017, KMA (Kit Monkman & Tom Wexler) transformed numerous public spaces into theatrical arenas in which performances were enacted by an incidental audience. From Trafalgar Square to Shanghai’s Bund, the confluence of light, sound, and movement, common to KMA's works, became the conduits through which a language for a pedestrian, choreographed, impromptu-theatre was created.

By arresting time and space within the public arena and blurring the distinction between performer and audience, KMA’s work opened up new environments in which art and audiences could meet, equally on each other’s terms.

Flock was a large-scale installation that saw the audience become performer. The ability to respond, be impressed upon and impress back offered a whole new realm for ‘live’ artistic experience

From How Soon is Now: 60 Years of the Institute of Contemporary Arts by Ekow Eshun and Pamela Jahn.

We are made of our relationships to other people and our very own bodies. KMA's work invites us to think further on where one body starts and another finishes, significant and topical questions for a society coming to terms with virtuality and digital embodiment.

Mike Stubbs, director and CEO of the Liverpool-based FACT (Foundation for Art and Creative Technology)

Flock is an intelligent, process based work with experience of its subject at its very heart. This is a significant piece in the transition of technology based work becoming public art and understanding all the challenges this entails in the maturity of live-digital art

Vivienne Gaskin, Director of Performing Arts and Digital Media at the ICA.

Rich and meaningful

Laurie Jo Reynolds, Assistant Professor of Public Arts, Social Justice and Culture at the School of Art and Art History at the University of Illinois at Chicago

With a title that connotes a religious gathering, Congregation connects people on a very basic level and without language, in a wonderland space of swirling light and immersive music.

Jen Saffron, Afterimage.

When Congregation was selected to be the inaugural piece for the Market Square Public Program, we knew it would be good. But we did not know that it would be magic.

The Office of Public Art, Pittsburgh, USA