In 91 I have moved to a village in France & started my self-proclaimed exile as a so-called "Farmer-Worker,"  living among farmers; thus earth became a source of life & my art has moved from environmentally oriented Art Projects  to intimate indoor Installation Works (large dimensions in space).  The works stood for metaphors to computer-technologies & were all hand-body-made, while recycling Art History & all other daily events; personal & political from a critical perspective.  The daily mathematics of mind exercise & its translation into actual creativity resulted in a mega-computer=mega-human-woman & to a visual linguistic not dictated by market success, but by the "success" of the realization of work, which depended merely on the inner inertia of its creator exercising the linguistic of the work on its various factors being transformed into one abstraction after all factors were activated.* M. Sharon, 09,Feb.
*For more on ECO/COM/SYS follow website; WWW.MSAMUSEUM.COM  under its chapter.

An Art created outside The Art Market or Working-Art (Art Projects & Eco/Com/Sys
(Outside the system of Art>Gallery>Commerce of Art>Museum)

An Art Situation created with the participation of workers, employees, women, etc. in their working places; in a harbor, factory, villages, municipality, Kibbutz, hospitals, etc. An art that instead of producing a "masterpiece" directly for a gallery, museum or collector's purpose was brought to a daily working- place, conveying, first of all, the rare, unique Art Experience to the hands of working people for them to live through their direct participation in their working place.  Thus one event (the work of art), which, while exercising it physically went through another dimension, that of the unknown, the surprise; a confrontation which became the fuse that transformed the banal daily experience of those working people, wherever such events took place (more than 40, since early 70's) into the extraordinary work of art, which became the so-called Art Projects, each one conveying its specific message, no more that of the unique masterpiece , but that of the message, as experienced by ordinary people, its meaning brought to the spectator in a "dry, visual & ordinary language, not for seduction purposes but for the comprehension of the spectator as a learning experience…For those reasons as mentioned above, such works of art made outside the art establishments has never been acknowledged, nor shown under their umbrella, except for exceptional progressive spaces, which accepted art for social change & such  art critics, such as Lucy R. Lippard, who, without her mediation, such projects would never have come to public awareness, altogether.* M. Sharon, 09, Feb.

*L.R. Lippard wrote in the 70's & 80's about those Art Projects extensively. With many thanks…M.S.