Bruce Nauman

Acconci shared Nauman's preoccupation with the body as artistic medium and psychological confrontation, using performance and installation to explore surveillance, intimacy, and discomfort in ways that parallel Nauman's corridor works.

Kosuth similarly interrogates language and meaning through text based conceptual art, treating words and definitions as sculptural and philosophical material in a manner that resonates deeply with Nauman's neon wordplay pieces.

Graham's mirror and video pavilion installations create disorienting perceptual and psychological experiences for the viewer that closely mirror the spatial and psychological tension Nauman engineered in his corridor and video installations.

Cage's expanded conception of art as process, chance, and everyday action deeply informed Nauman's early studio practice films, in which mundane repetitive actions became the artwork itself rather than a means to another end.

Johns's interrogation of familiar signs and language as physical objects rather than transparent symbols gave Nauman a critical model for treating words and letters as loaded material that could be sculpted and defamiliarized.

Kelley absorbed Nauman's use of repetition, bodily abjection, and psychological disturbance, channeling those strategies into installations and performances that probe trauma, regression, and cultural anxiety with comparable intensity.

McCarthy extended Nauman's confrontational body based performance work into increasingly grotesque and visceral territory, acknowledging Nauman's corridor and video pieces as foundational to his own investigations of shame and excess.

Emin's celebrated neon text sculptures that broadcast confessional and emotionally raw phrases directly build upon the formal and conceptual language Nauman pioneered in his neon works, translating it into an autobiographical register.