<http://webisa.webdatacommons.org/140505937>	<http://www.w3.org/1999/02/22-rdf-syntax-ns#type>	<http://www.w3.org/ns/prov#Entity> .
<http://webisa.webdatacommons.org/prov/269913441>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/140505937> .
<http://webisa.webdatacommons.org/140505937>	<http://www.w3.org/ns/prov#wasQuotedFrom>	<artdaily.com> .
<http://webisa.webdatacommons.org/prov/273085650>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/140505937> .
<http://webisa.webdatacommons.org/140505937>	<http://www.w3.org/ns/prov#value>	"In the 1970s artists such as Senga Nengudi, Maren Hassinger, and David Hammons began to experiment with PostMinimal Art ephemerality, and performance." .
<http://webisa.webdatacommons.org/prov/137521943>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://webisa.webdatacommons.org/140505937> .