Artist Agnes Bolt gets a peck on the cheek from Philippa Hughes as part of a recent performance in which Bolt moved into Hughes’s condo for a week. (Agnes Bolt/Project 4)

Performance art can be a little hard to get a handle on. Is it art? Theater? Nonsense? All (or none) of the above?

Recently, artist Agnes Bolt enlisted the aide of two D.C. art collectors in a pair of week-long projects that question the relationship between artist and collector. In the first one, Bolt moved into Philippa Hughes’s condo, living in a clear plastic bubble in Hughes’s living room for seven days. In the second one, Bolt, in New York, communicated with Philip Barlow, in D.C., via Skype and text over seven days, exchanging messages, assignments — and, in one case, objects. The results of Bolt’s collaborations are on view at Project 4.

Read my full review of the show, and take a sneak peek, after the jump, at some of the strange and fascinating images from the show.

Bolt’s sculpture “Leftovers” consists of a real fork — taken by the artist from Hughes’s kitchen — and a piece of ceramic lasagna. (Agnes Bolt/Project 4)

"Buffing Message Machines" is a series of dust mops, one of which was used to clean Bolt’s living space. (It’s the dirty one on the left.) There are written messages, exchanged between Bolt and Hughes, inside the handles. (Agnes Bolt/Project 4)

This image is a screen shot of a Skype session in which Bolt (left) and Barlow (right) engaged in a tongue-in-cheek attempt at long-distance telepathic communication. (Michael O'Sullivan/The Washington Post)

Bolt and Barlow exchanged gifts as part of their interaction. The artist gave Barlow a rock taken from the Redwood Forest in California, and the collector gave Bolt a Seiko calculator watch he had owned since 1978. Both are on display at Project 4. (Agnes Bolt/Project 4)

"Philip Looking at Philip" is a miniature photograph of Barlow, printed on clear plastic laminate and affixed to the gallery window. The effect is of looking at Barlow standing on the roof of a neighboring building, but it works only if you are Barlow’s height, 6-foot-4. (Michael O'Sullivan/The Washington Post)