! – History can be understood through performance, and it is important that this understanding is separated from ideals of archival history, “If echoes , or in the performance troupe Spiderwoman’s words ‘reverberations’, resound off of lived experience, such as performance, then we are challenged to think beyond the ways in which performance seems, according to our habituation to the archive, to disappear” (106)
? – Archival history is patriarchal and limits modern understanding of history, how can this be modified to include performance and redefine archival history? “No-one, Derrida notes, has shown more ably than Freud how the archival drive, which he labels a ‘paternal and patriarchic principle’, is both patriarchal and parricidic” (104)
! – Performance and the body act as historical communication in ways that are entirely unique and important in remembrance of the past “the body serves as a distilled history” (19)
? – How can we consider history in our everyday lives, breaking it down in smaller parts as opposed to taking off big chunks once in a while? “Artists have long struggled with the challenge of bringing history into their works, without that history being undigested or monumental. Lemon’s work is a model for how art can register the burden of history without claiming a bogus historical self-importance” (22).