The New York Times has come up today with an article about Marina Abramović’s current show at the Museum of Modern Art in New York and a documentary about her life that appeared during the show. Eager to see what was said about her start in Belgrade in the Sixties and Seventies, I read the entire article. “The child of anti-Fascist partisans who were national heroes in Tito’s Yugoslavia,” I read at some point, “she joined the European avant-garde of the Sixties and Seventies, and gained a measure of fame for the fearless, sometimes violent way she used her own body in her performances.” And that was all on the subject. The fact that Belgrade was an important center of avantgarde art at the time is not even hinted at. Joseph Beuys, a frequent visitor of the capital of Yugoslavia in this period, is pushed out of the picture, as well. Abramović appeared out of nowhere, as it were. I only wonder whether this is the fault of the person behind the documentary, or her own invention. She is an artist, after all.