The Adventures of the Body pursue a double objective: first, to give the audience all of the news from the past five years of the artist’s live sculpture; second, to reinvent the medium of such exhibition, encouraging audiences to also take on the role of the artist and photographer’s co-creator—or at least partner in crime. The works are hung with a special cord and pulley system attached to the ceiling. As they approach it, visitors must exert a physical effort by pulling the cord, literally bringing the suspended work to eye level. The images themselves are created by FPA’s many photographer-collaborators and depict the artist’s body in a wide variety of situations, both natural and decidedly not, all ensconced in cloth veils that echo the Russian Orthodox Church’s tradition of framing icons. These covers direct the audience’s attention to specific elements within the images. This framing highlights the principles of life sculpture on which performance art typically relies while encouraging viewers to ponder the question: what holds greater value, the frame or its contents? Here, Fyodor Pavlov-Andreevich’s narcissistic flirting and profound humility are simultaneously manifest in a bewildering paradox of personality.