enlisted the unpredictability of life forces by introducing a pair of mourning doves to an installation of suspended bicycle wheels and floor mounted targets, thus applying the element of chance as indeterminacy. Another Indeterminate work, Performance, involving her 1976 “claim” of a Metropolitan Museum of Art fire hose, challenged definitions of art with “readymade” intelligence, foreseeing the Museum Interventionist Movement. Performance was initiated by mounting a wall label, guerrilla-style, next to one of their glass encased fire hoses. Two years later Bradshaw quietly placed a self-published postcard of Performance in the museum shop. In recognition of this gesture, the museum acquired the silver gelatin print of Performance with the intention of publishing an official card, eventually issued in 1992. In 2006, still not satisfied that the museum understood what they had acquired – a sculpture, not a photograph – the artist created an updated label offering it to the well-known Dadaist collector, Rosalind Jacobs, who then donated it to the museum. With this prompt, Performance was accepted into their permanent collection on December 31, 2007. Thus the Duchampian gesture of the object trouvé was expanded on two fronts: the object’s a priori placement in an art space and by its intact function.

Bradshaw’s late friend and mentor, composer John Cage stated that, “The work of Dove Bradshaw works with our changing conceptions of time and space. It’s a timespace, not hyphenated, experience and I think that’s what Dove’s work is about, preparing us for that experience which is ours, and we don’t know how to do it because we cling… She’s involved, as we are in our lives, because of art, with an almost scientific procedure, so that she can experiment in such a way as to prove something. And she can subject us to the results of her experiments, which can open us to the life we are living.”

Bradshaw is represented in the permanent collections of numerous American, European, and Russian museums, and regularly exhibits internationally. In June of 2006 Radio Rocks, a permanent commission by the Baronessa Lucrezia Durini (Bolognano, Italy) involves galena and pyrite tuners continuously drawing in local, short wave and outer space signals echoing the Big Bang. It will have its American premiere at Larry Becker Contemporary Art (Philadelphia) in April. In 2006 Bradshaw was invited by the late Shu Uemura, founder of the cosmetics line, to exhibit in Tokyo’s Gallery 360°. For the 6th Gwangju Biennale (South Korea) Bradshaw presented Six Continents, an erosion piece with salt taken from each continent (A 2006 National Science Foundation Grant supported the gathering of Antarctic salt). In 1975 Bradshaw won a National Endowment of the Arts Award for sculpture, and in 1985 The Pollack/Krasner Award for painting. In the 1991 Carnegie International Bradshaw was invited by John Cage to exhibit as part of his oeuvre. Appointed in 1984 as Co-Art-istic Advisor with William Anastasi for the Merce Cunningham Dance Company, Bradshaw designed sets, costumes and lighting for their stage and television productions around the world. Accompanied by music of Cage, Tudor, Kosugi and Pimenta the works are still part of the repertory. In December 2007, Bradshaw dedicated an exhibition to Sol LeWitt at BjÖrn Ressle Gallery (New York) titled ONE in collaboration with Anastasi, Andre, Barry, Hafif, Highstein, Kretschmer, LeWitt, Nonas, Wagner in which each piece is made of a single material. Traveling under a different premise, the Esbjerg Museum (Denmark) will host the exhibition from May 31 – August 31 with the addition of Lawrence Anastasi, Janet Passehl, Cordy Ryman and Robert Ryman. Often included in Eastern influenced exhibitions, Bradshaw will exhibit in 2009 at the Guggenheim Museum, New York in the most ambitious to date, American Art and the East.