“I(1) don’t care(2) to belong(3) to any club(4) that will have me(5) as a member.(6)
– (7) Groucho Marx(8)

(4) Kamen’s work suits itself more to the dynamics of the comedy club than the club of the art world. She forces the art critic to take on the cartoonish role of the heckler, a style of critique much more emotional and direct than they may be accustomed to.(vi) Thrown tomatoes make the messy risk of audience response overt, something that is often alienated from production in the visual arts. In a comedy club every member of the audience is a critic, and their reaction has an immediate effect on the route the act takes, if the stand-up comic is skilled enough to read the room. This inextricability between artwork and audience is easily understood in Kamen’s installation “A faucet which stops ripping when nobody is listening to it.” The very presence of a viewer enlivens the work.(vii)

”