Site-specific work is hardly new. No doubt the urge to perform predates the development of theatre and gallery spaces as privileged locations for presenting manufactured images. And certainly there is a rich and extensive history of works that have taken place outside of these “traditional” architectures of presentation,1 for various economic, political and aesthetic reasons.2 Recently, however, there has been a proliferation of works that posit themselves as “site-specific.” Non-traditional venues are all the rage, as artists look to reach new audiences, to reinvest aspects of daily life into the distilled languages of performing or, conversely, to transform mundane locations by enlivening them through performative gestures.