These prints exemplify two related artistic movements of the 1970s. Vito Acconci's laborious explorations of his own body were central to the performance-based movement known as Body Art, while the written reflections about the social meanings of his actions are typical of the theoretical deliberations associated with Conceptual Art. "- Biting as much of my body as I can reach: turning on myself, turning in on myself: performance as locomotion across a boundary: connecting a region: absorption, by one organization, of a neighbouring organization: self-absorption. - Bite: getting to a point, getting through a point: brand of performance. - Applying printers' ink to each bite and making bite-prints: identity pegs: identifiers of a certain position I have taken at a certain time: TRADEMARKS (title of the piece; September 1970): performance as the shaping of an alibi. - The bite-prints can be stamped on various surfaces (paper, a stone, a possession, another body): performance as opening a system, sharing a secret."