Walking around MOMA one evening on a trip to New York many years ago I came upon a large black-and-white projection of a beautiful young woman brushing her hair, hard. As her strokes became more maniacal and visibly painful she chanted, "Art must be beautiful, artist must be beautiful," over and over again. This, of course, was Marina Abramović in one of her early performance pieces, and suffice it to say I was riveted. I did not fly to NYC to gaze into her eyes during her spring 2010 retrospective at MOMA (though I often kept the museum's "MarinaCam" open in a browser at work to watch the proceedings from afar), but thanks to Matthew Akers's recent documentary about that exhibit and Abramović's preparations for it I almost feel like I was there. The film also gives an overview of Abramović's four decades of boundary-pushing performance art including her extensive collaboration with her one-time partner Ulay that laid bare the best and worst of male/female relationships. Their first tentative interactions after years apart forms one of the most genuinely moving parts of the doc. I have no doubt that the image-conscious Abramović got final say on everything Akers reveals on camera, and some of the editing and effects are distractingly slick. I was gobsmacked by the raw power of Abramović's work all over again though, and the emotion written all over the faces of those who sat across from her during her three-month endurance test in the MOMA atrium cannot be denied.