In Janet Zweig’s Impersonator (2002), installed in the Instructional Technology Center of Santa Fe Community College, the author may not be dead, but she is unequivocally missing in action. Who is the impersonator, who is she dramatizing, and what is her relationship to an author? Where does the artist enter and exit in this discursive, possibly disturbing scenario? There is a phantom author of texts, potentially multiple, unidentified impersonators, and someone who may have defaulted on the commonly accepted role of the artist as creator and maker. As Hannah Arendt speculates about webs of relation- ships and enacted stories, “The manifestation of who the speaker and doer.
