"Other artists practicing performance in the abject category include Vancouver's Rick Gibson, famous for his early nineties project to snuff out the life of Sniffy the rat as an art performance for the masses, Neoist William Davison (Bill Satan), and the itinerant art prankster Sandy Plotnikoff. In Davison's performance The Anti-Child of Recordist Performance and a Lighted Cavern (1997), produced for the Teratoid Event held at Symptom Hall in Toronto, the artist dressed himself as a child of about five years of age and performed anarchically for approximately an hour on various toy instruments and other noise makers, occassionally pedalling a tricycle, loudly ringing its bell. The audience didn't know whether to laugh or cry. Those with children of the age represented by the artist stage laughed until they cried. The artist's Kook Dance At X Hundred Feet was a similar mix of comedy with the bizarre. Kook Dance was performed at night on underdeveloped land in downtown Toronto with the audience viewing the performance at a distance or through binoculars while listening to a soundtrack on earphones. The artist danced in an eccentric fashion in the wasteland, dressed in a "kooky" striped uniform and wearing a conical "dunce" hat...a Prufrock on speed (and other observations)."

Bruce Barber, "Three Modes Of Canadian Performance In The Nineties", Art Action 1958 - 1998, (Richard Martel - editor) Editions Intervention, Que., 2001