Looks like I’m linking to Brian Droitcour twice in a row, because he just reported on Performa 13, and he’s my favourite art critic right now.
Though it’s counterintuitive that he claims performance art aims for the same absorbed, “direct executive focus” viewing that typically accrues to “museum-quality” art (ie. painting and sculpture). I think the usual argument is the opposite: art after minimalism (in which we could include performance, video, conceptual art, installation art, etc.) is always context-aware and usually draws attention to its specific location and the experience of the particular viewer, as opposed to the universal timelessness of the encyclopedic museum. This is part of what Groys was talking about in the essay I posted yesterday.
I suppose what this piece shows is that, despite what critical orthodoxy tells us, old viewing habits (like seeking transcendent timelessness from art) die hard, and it takes especially good art to show us what new and different habits really look like and what they can offer.