Phyllis Baldino engages in a conceptual art practice that merges performance, video, sculpture, and other forms. Rendered with wit and ingenuity, Baldino's ironic performance tapes question the function and meaning of everyday objects and actions. Low-tech and straightforward, her works often document the artist in the process of assembling found objects, taking them apart, reconstructing them, or transforming their function. These minimalist vignettes, shot with a static camera and often performed in real time, exhibit an anecdotal conceptual humor and an implied, though elusive, narrativity. Typically, Baldino's actions result in oppositions, contradictions or incongruities; she reveals ironic gaps between her deconstructed objects and the meanings or functions assigned to them. Baldino's pieces are often seeded with wry references to gender and role-playing, which takes the form of ironic costuming and performance. Her witty inquiries into the meaning and perception of objects and gestures are often informed by scientific or philosophical principles. Baldino's video works are most often incorporated within an expanded context of installation, objects, or projections. Phyllis Baldino was born in 1956. She earned a B.F.A. from Hartford Art School, Connecticut. She has had one-person shows at Contemporary Art Center, Cincinnati, Ohio; Pierogi, Tate, Thomas Nordenstad Gallery and Lauren Wittels, New York; and Southern Exposure Gallery, San Francisco. Her work has been featured in group exhibitions at The Museum of Modern Art and the Guggenheim Museum; Impakt Festival, Utrecht, The Netherlands; Stedelijk Museum, Amsterdam; The Guggenheim Museum Soho, New York; Air de Paris, Nice; Four Walls, New York; Los Angeles Center for Photographic Studies; and Independent Art Space, London. Baldino has screened her work at the New York International Video Festival and the 1st Video Festival del Meditteraneo. She lives in New York.