[T]he relationship between art and viewer is all first hand now experience, and there is no way to be carried to you through any kind of secondary system' (q) To an extent this is true, at least as borne out in the writing of [Robert] Irwin's practice, in which critics find little to observe beyond the fact that the work makes you 'perceive yourself perceiving'. Bishop, 2005, p.57 Kaprow's search for the shock impact of 'unheard of happenings and events…sense in dreams and horrible accidents' seems to offer many similarities to Surrealist art, with its aim to undercut the ego's defences and trigger unconscious desires and anxieties.(q) But the Surrealist encounter, as described by Breton, was essentially a missed encounter, whose immediacy temporarily steals out sense of self-presence.(q) By contarst, the shock of the dirty and new and unexpected in Kaprow's Environments sought to confirm the viewer's sense of self-presence: he tells us that 'all the time you're there, getting into the act'.(q) This 'authentic revelation of the subject through the immediacy of first-hand experience was to become a recurrent theme in the rise of installation art in the 1960s. Bishop, 2005, p. 26