“…Critics have tended to figure the relationship between performance and place in site-specific work in three main ways: as heterotopic, dialogic, or palimpsestic (with its corollary, the spectral -more than most people, performance scholars see a lot of ghosts). When framing the relationship as heterotopic, critics commonly draw on Michel Foucault's (1986) discussion of heterotopias, which operate through the simultaneous invocation of multiple but differentiated places, both physical and imaginary (Bryant-Bertail, 2000;Meerzon, 2007;Tompkins, 2009;Wiles, 2003, pp.7-8;Wilkie, 2002a). 3 Site-specific performance, then, is heterotopic because it self-consciously puts actual and imaginary places into play at the same time.…”