Joining in the staging of BYOF were eleven additional "performers"--Richard Aldrich, Alisha Kerlin, Daniel Lepkoff, Charles Mayton, Patrick Palermo, Patrick Price, Woody Sullender, Sakura Shimada, Jean-Marc Superville Sovak, Sergei Tcherepnin, and Patricia Treib.
BYOF's disordered arrangement of plywood, projection screens, and paper walls, along with a nightmare of cameras, speakers, tripods, and cords, prohibited any one "painting-action" from being consumed in its sensorial totality.
While BYOF included several known artists, not one was directed to make a signature work.
Art historian and critic Eric de Bruyn describes this shift as central to artistic production since post-Minimalism; recalling Dan Graham's observation on a Bruce Nauman performance, de Bruyn writes, "The space does not contain the performance; rather it is the performance that constitutes the space." In BYOF, the actions physically moved from inside to outside and back again: from lobby to sidewalk, from preparatory to presentational, from actor to audience.