to a desolate beach in Baja Mexico where he lived for 11 days with no food and only water; Fire Roll (1973), in which he set a pair of pants on fire and then rolled on them to extinguish them; Honest Labor (1979), in which he dug a large ditch; Velvet Water (1974), in which he spent five minutes attempting to breathe water as a live audience watched; Do You Believe in Television (1976), in which he sent an audience to the third floor of a building — where television monitors showed them the ground floor — and then lit a fire on the ground floor (sources differ as to whether the monitors showed the fire, forcing the audience to realize that the screens represented reality, or showed an intact ground floor, forcing them to realize that the screens did not represent reality); and TV Hijack (1972) wherein, during a live television interview to which he had brought his own camera crew, he held interviewer Phyllis Lutjeans at knifepoint and threatened to kill her if the station stopped live transmission (when asked about the incident in 2015, Lutjeans stated that Burden was a 'gentle soul', that she knew it was an art piece, and that the incident did not damage their pre-existing friendship); to conclude the piece, he demanded to be given the station's recording of the incident, which he then destroyed. One of Burden's most reproduced and cited pieces, Trans-Fixed took place on April 23, 1974, at Speedway Avenue in Venice, California. For this performance, Burden lay face up on a Volkswagen Beetle and had nails hammered into both of his hands, as if he were being crucified on the car. The car was pushed out of the garage and the engine revved for two minutes before being pushed back into the garage. Later that year, Burden performed his piece White Light/White Heat at the Ronald Feldman Gallery in New York City. For this work of experiment performance and self-inflicting danger, Burden spent twenty-two days lying on a triangular platform in the corner of the gallery. He was out of sight from all viewers and he could not see them either. According to Burden, he did not eat, talk, or come down the entire time. Several of Burden's other performance pieces were considered controversial at the time: another "danger piece" was Doomed (1975), in which Burden lay motionless in