"In Peter Moore's fish-eye photograph we see Moorman in her studio apartment in the Hotel Paris in Manhattan's Upper West Side, where she lived from 1962 until 1971, the year of this photograph was taken. The photograph aptly pictorializes Moorman as the gravitational vortex of her stuff, a voracious black hole. Hers is clearly a natura that abhors a vacuum, and, as would be the case in later apartments, the place is filled floor to ceiling, wall to wall, with her hoarded treasures and borderline trash. In a way radically more true than most who leave behind so-called archives, Charlotte Moorman lived inside of hers. She walked through it, slept in it, sat on it, ate in it. The Hotel Paris apartment was so full that Moorman had to store her cello in the bathtub and practice it on the building's roof. There's another story about Moorman buried behind this photograph, and it's one about her chronic lateness. It was taken on the very day that Peter Moore and his wife, Barbara, had arrived at the Hotel Paris to help Moorman and her husband, Frank Pileggi, move to their next apartment on West 46th Street. The Moores had come to help lug boxes, but, as one can see, the apartment was far from packed and ready to go. Patience with Moorman - who was routinely late for planes, trains, paying bills, her own performances and festivals, and even an event sponsored by New York City myor David Dinkins to honor her cultural contributions to the city - was a quality required of her friends." - CORRIN, Lisa Graziose, GRANOF, Corinne, "A feast of astonishments. Charlotte Moorman and the avant-garde. 1960s-1980s", p. 185

CORRIN, Lisa Graziose, GRANOF, Corinne, "A feast of astonishments. Charlotte Moorman and the avant-garde, 1960s-1980s", Museum of art, North Western University, Illinois, 2016, p. 184