Visceral, tactile and curious, Jimmy Robert blurs the lines between performance, film, photography and drawing. In his work, the body becomes a vehicle through which to tell stories about the way spaces are constructed, and what it means to see and be seen. Jimmy wanders naked through Phillip Johnson’s Glass House, dances in harmonised choreographies or affixes tape to his bare flesh in homage to Yoko Ono. In a piece titled with reference to a painting by Marcel Duchamp, a staircase is worn as a headpiece, transforming the body into an architectural form. This layering of voices and canonical figures from art history gives shape to sensuous intertextuality as Jimmy explores desire and movement while problematising how power operates within the visual sphere. If you want to know how touching can be a way of establishing a certain form of knowledge, read the intimate and honest conversation between Fatos Üstek and Jimmy Robert in Extra Extra no. 19.