On a number of occasions, Morten Viskum has transformed the creation of a painting into a public performance.
 
In 1997, Viskum acquired the first in a series of hands removed from cadavers. In 1998, after considering the ethical implications involved in using a dead hand, he used it to paint the first work in his series The Hand That Never Stopped Painting. Viskum now has several such hands, both male and female. Each one, Viskum explains, reacts differently to contact with the canvas or paper, exactly as do the brushes chosen by a painter to accomplish a particular aim. 
 
When Viskum paints a picture with one of the dead hands, he considers the picture part of a performance. 
 
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