Performance art offers its viewer what other visual forms can’t: a direct address in real time. Yet in the years that follow its realization, the medium is susceptible to misremembering, or worse, indifference; its curators frequently resort to displaying a work’s discards in an effort to recreate the experience of its unfolding after the original audience has, quite literally, moved on. When it comes to Louisianian artist Tina Girouard, much of the imagined audience was never there in the first place. Girouard’s difficult-to-classify performance work—she remains best known within the art world for her collaboration with Carol Goodden and Gordon Matta-Clark on the restaurant-cum-happening FOOD—transpired primarily in downtown New York in the 1970s, and until recently almost none of it trickled down to the Bayou, an unfortunate fact given how prominently the region figured in her own artistic mythology. The artist’s method of repurposing the same materials in performance after performance inadvertently complicated the task of future curators and archivists who might hope to recreate specific iterations. Foremost among her props were eight twelve-foot lengths of floral-printed silk, on which she bestowed the typically mythical-sounding name “Solomon’s Lot,” and which she used in many of her performances throughout the 1970s. …