Terence Koh rapidly gained notoriety in the art world following his installation at Art Basel in 2007, which featured clumps of the artist’s own excrement covered in gold leaf. Such subversive gestures pay homage to Marcel Duchamp and the Dadamovement, while other works such as Big White Cock (2006) examine symbols of gay subculture and the fetishization of objects. Another strain of Koh’s work explores spirituality and asceticism, as in his 2011 performance entitled nothingtoodoo, in which Koh took a vow of silence, dropped to his knees, and repeatedly circled a massive pile of salt for hours at a time. Koh’s diverse oeuvre encompasses sculptures, installations, and performance works, raising questions that range from how to define the role of the artist to what constitutes “otherness” in contemporary society.