Beyond participation in the performance based on Yoko Ono’s Cut piece 1964, you had the possibility to imagine yourself as a sculptor by touching a sculpture of art 
attached to the Genzken exposition, nothing less than the head and bust of Nefertete, also a piece transformed by Genzken and exposed, untouchable, in the exposition. You can hardly get more involved and incited to participate with hands-on experience, so to speak.
Additionally, there is the perspective from the performing artist in “Yoko Ono’s Cut Piece” to confront the spectators with a silent, stoic expression hardly moving during the more than 90 minutes performance. Imagine, what kind of vulnerability you are risking. Artists give a lot from themselves to the public. Imagination is even going beyond the act performed. Mastering your own fear of mutilation or being exposed to views, touching and multiple other forms of sensation.
This surely is an exercise of mental strength. Spectators also interact with other participants as, for example, spontaneously another spectator too the scissors to cut his own shirt in front of the performing artist and covered the shoulder of the performer. The personal interaction assures a more intense experience of art.
After all, this is a well-known principle to enhance learning experiences as well. Imagine all the people, each taking just a tiny little piece and remember their experience that they, as well, can be actively contributing to art. Reviving this participatory experience is leading beyond imagining only your participation. Democracy is built on this stimulating experience as well. It is ever so necessary to foster participation and to overcome indifference or abstention. Learning by doing, or experiencing through touching, offer many additional insights.
(Images and videos taken on 2023-9-12, Berlin)
