stˈɑːɹɾɪŋ ɪnðə nˈaɪntiːnhˈʌndɹɪd sˈɪksti z, hiː ɪvˈɑːlvd sˈɛvɹəl ʌvðɪ ɛksɪbˈɪʃən stɹˈæɾədʒiz nˈaʊ tˈeɪkən fɔːɹ ɡɹˈæntᵻd, ɪŋklˈuːdɪŋ jˈuːzɪŋ ðə wˈɔːlz ʌvðə ɡˈælɚɹi æz ðə sˈʌbdʒɛkt ʌvðə wˈɜːk ænd jˈuːzɪŋ fˈoʊɾoʊ dˌɑːkjuːməntˈeɪʃən ʌv ɪfˈɛmɚɹəl ænd pɚfˈoːɹməns wˈɜːks.
Starting in the 1960s, he evolved several of the exhibition strategies now taken for granted, including using the walls of the gallery as the subject of the work and using photo documentation of ephemeral and performance works.