For her retrospective at MOMA back in 2010 'The Artist is Present', where she sat in silence for 700 hours, attracting more than 850,000 visitors, many of whom queued all night. People who sat with her more than 10 times formed their own club, and a group of New York artists gave out badges – "I cried with Marina Abramovic"
Every day several people broke down in tears, usually after just a few minutes of silent staring. On personal blogs and MySpace, people shared their experiences of sitting with Marina, often in quasi-religious or life-altering language. "I gazed into the eyes of many people who were carrying such pain inside that I could immediately see it and feel it," she says, still sounding excited. "I become a mirror for them of their own emotions. One big Hell's Angel with tattoos everywhere stared at me fiercely, but after 10 minutes was collapsing into tears and weeping like a baby."
One of the pieces I found more interesting about her was one of her earliest work, called Rhythm 0, pushing the boundaries between subject and viewer, as well as the limits of the human urge for violence, Marina Abramović volunteered her body for a self-designed study on torture. She stood before a room full of viewers, laying seventy-two instruments for pleasure and pain, with which the audience was to use on her body. Among the objects were a feather, a rose, a braided whip, a scalpel, and a gun with a single bullet. After six hours of passive acceptance to participants’ increasing acts of cruelty, an audience member reached for the gun.