In the shadowy margins of contemporary art history lies a performance so radical, so transformative, that it threatened to dismantle the very foundations of performance art itself. Vanishing Point is the haunting investigation into this singular event, an unsanctioned, undocumented, and possibly apocryphal act that exists only in memory. 
 
No photographs, no video, no confirmed date or site and yet, for those who claim to have witnessed it, the memory is unanimous: transcendent, devastating, impossible to describe, an experience that reconfigured their understanding of self, society, and time itself. 
 
At the center of the mystery are the artists Leah Gotti and Alberto Blanco, a volatile yet visionary collaboration that burned brilliantly—and briefly. Gotti, known for her immersive, corporeal work, and Blanco, a master of erasure and conceptual absence, joined forces only once, for what they would cryptically refer to as The Event. Their refusal to confirm or deny the performance’s existence only deepened the mystery. They were no longer simply artists—they became part of the performance itself, their silence the final act.
 
Into this void steps art critic Dora Venter, archival designation Critic #706, who devoted over a decade to verifying whether The Event occurred. Her pursuit led from Berlin to Santiago, Prague to the Nevada desert, gathering fractured testimonies that only contradicted one another: some recalled a chamber suffused with sound and scent; others swore no performers appeared at all. None could agree on what happened—only that it altered them forever.
 
To pull all these disparate elements together Palmer focuses on the work of  Venter  whose decade-long obsession with the lost, or possibly imagined, forms the investigative backbone of the book. While Venter contributed field notes, redacted interviews, and fragments from her private archive, it was Palmer who shaped these materials into a haunting narrative, a book that blurs the lines between documentation and mythology, critique and elegy.
 
Vanishing Point is more than a search for lost art, it is a meditation on performance itself. An art form born to vanish, performance resists commodification, refuses replication, and dissolves into the present moment. Gotti and Blanco may have created the most pure performance imaginable: one that lived, if at all, in the bodies of its observers and the distortions of time. An artwork without an object, without evidence—only a haunting, collective afterimage. Whether The Event ever truly occurred may remain unknowable. What cannot be denied is the void it left behind, and the unsettling possibility that its disappearance was the performance all along.