Hours three and four are where the footage becomes unwatchable. The crowd splits into two factions: the aggressors and the enablers. You see her skin being cut with the scalpel. You see thorns from the rose pressed into her abdomen. Someone loads the gun and places it in her hand, pointing it at her own temple. A fight breaks out among the audience over whether to pull the trigger.

The most chilling detail caught on video is not the violence, but the intimacy of cruelty. A man uses the chain to tie her legs apart. Another places the honey on her body, only for another to lick it off. The footage captures the precise moment when performance art stops being art and becomes a sociology experiment about mob mentality.

These grainy, 50-year-old clips remain the most powerful proof of that thesis. They are a mirror. Do not watch them if you want to see art. Watch them if you want to see what you are capable of when no one is looking.

By hour two, the energy shifts. You see a man pick up the scissors. He snips her shirt open. She doesn’t flinch. The camera catches the crowd’s reaction: nervous laughter, a few gasps, but no one stops it. This is the "consent" of inaction.

10/10 (Essential but deeply disturbing) Rating (as viewing for entertainment): 0/10 (Do not watch alone or while emotionally vulnerable)

Abramović stands motionless for six hours in a gallery in Naples. A table beside her holds 72 objects: a feather, a rose, honey, a whip, a scalpel, a chain, a pistol with a single bullet. The instructions are simple: “I am the object. You are the free will.”