forum for social change originating from the art world”. Although EIDIA House can be located anywhere, at the moment it is based in Lamarre and Wolf’s home and studio space, located in the Williamsburg area of New York City’s Brooklyn borough. Major works Lamarre and Wolf began their collaboration in 1983 with the video series The Chelsea Tapes, a series of 26 video vignettes forming an autobiographical diary of Lamarre's extended stay at the famous Chelsea Hotel in Manhattan. Inspired by the fact that Dylan Thomas, Virgil Thomson, Viva and Sid Vicious all lived at the Hotel, he sought to capture in video what influences, if any, the Hotel could have on his work. Lamarre began shooting in 1983 and soon found a collaborator in Melissa P. Wolf after they met at a New Museum opening. (At that time, the museum was still up-and-coming under the driving force of its sole founder Marcia Tucker.) Wolf became chief cameraman and editor of The Chelsea Tapes. Their next video and book project, FOOD SEX ART the Starving Artists' Cookbook (1986–1991), chronicled approximately 150 artists cooking in the US, Europe and Russia. While expounding on the artists' relationship between art and life, FOOD SEX ART the Starving Artists' Cookbook is also a portrait series on the artist in society and a video documentation of the social-economic condition of the arts community in downtown New York and internationally. Continuing their work in video, EIDIA went on to make the award-winning documentary the nea tapes (1995–2001), about the threatened dismantling of The National Endowment for the Arts. The piece is held in the library collections of over 200 universities, colleges and art institutes. Based on the nea tapes archive, Lamarre and Wolf interviewed over 300 artists, curators, art professionals, politicians and religious persons on their views on the status of American art in the late 1990s. the nea tapes also had the distinction of being screened in the US Capitol Building, Washington DC, under the auspices of the office of the Representative Jerrold Nadler. EIDIA’s performance/installation DECONSUMPTION (2001 to 2007) was modeled on the idea of "more production of less". They performed the "sale" of numerous found objects (reclaimed by EIDIA as “art”) purchased by the thousands of visitors to EIDIA House. With this piece, their production of artistic matter shifted from creating works using new materials to re-introducing, re-considering, re-shaping and recycling pre-existing items