To date, Melanie Manos has scrunched into the upper shelves of walk-in closets; inserted her body between exposed wall studs; inhabited the interiors of defunct, doorless refrigerators; squeezed into rolling metal utility cabinets; ducked into niches and crevasses of attics; walked the rafters; clambered up, over, and down interior walls; climbed the exteriors of multistoried buildings; and, most recently, shinnied into the upper reaches of gigundo, sequoia-sized tree trunks. A number of Manos’s intrepid feats have been achieved digitally or on video and, surprisingly perhaps, beget as potent a reflexive audience reaction—fear, unease, release—as her literal, physical performances. She is indeed the consummate interdisciplinary artist who works in performance, digital media, and installation, exhibiting not only nationally but internationally.