 This problem also arises from considering the differences between artistic performance and performance art (see  §2.2  above). Noël Carroll has argued there is no definition of “performance” in terms of necessary and sufficient conditions, but only coincidental histories. In the 1960s, theater performers became dissatisfied with the forms and institutions of theater and found they could express those dissatisfactions more readily in the context of gallery spaces in which they were allowed the freedom to carry out theatrical experimentation. At the same time, artists became dissatisfied with the forms and institutions of the “artworld”—museums and galleries—and found they could express those dissatisfactions in the form of performances that—coincidentally—looked a lot like theatrical performance (Carroll 1986a). But if this is the case, how can anyone tell whether one has encountered a case of what Carroll called “artistic performance” or of what he and many others have called “performance art”? The natural answer is historical and empirical: either it does not, nor should not, matter which one it is or, if it does matter, then probably one can have an answer if one can detect which institution is being challenged.