What makes an artist ‘good’ or ‘bad’? And, more importantly, who gets to decide? Fattouh’s neon sculpture Good/Bad Artist gets to grips with these pressing questions, challenging our perception and experience of art. To what extent do cultural institutions give legitimacy to artists and the works they produce? What role does the art market play in establishing an artist’s (net) worth? Fattouh asks us to reflect on these questions, which remain largely unanswered. Though it can also be viewed on its own, Sirine Fattouh's Good/Bad Artist is best experienced mounted against the backdrop of The Artist is Present . When placed together, these two works form a single installation. Featuring whimsical drawings that border on facetious, The Artist is Present depicts ten seminal performance and body artists at work. In each of these drawings, performers are depicted as androgynous figures whose faces Sirine Fattouh has substituted with her own, embodying each performance act in its entirety. The work pays tribute to some of the most pivotal figures in performance and body art in recent history – such as Valie Export, ORLAN, Yves Klein, and Shadi Ghadirian – while also critiquing others. The unsubtle drawing of the artist-figure mooning Jeff Koons’ sculpture, for instance, is hard to miss. Though seemingly denoting an outward gaze, the artist looks inward by placing herself at the center of the work. The different performances pictured here are also a reflection on the artist’s multiplicities: her role as an artist, feminist, and LGBTIQ researcher. More than anything, The Artist is Present is a contemplation on the power of performance, both as an art form and as a means for survival in our everyday lives. By reenacting key performances in recent history and depicting herself as a gender-neutral figure, Fattouh’s work is a statement on the politics and performativity of gender and feminism.