Social practice is question-led, suggesting that the artist is curious, asks questions about social issues, and listens carefully to the variety of answers she receives. In general, there is an encompassing question "What do we not know?" Or "How can society do better?" Feminists and political artists have long used this practice to engage a broader public in their work.

I've used questions as content, as an organizing device, and as a way to align participants' values and build a sense of ownership. This can be a simple question; like, "If you've ever been in a situation of domestic violence, do you remember that specific moment when you tried to ask for help and couldn't?" In my work The Tattooed Skeleton 400 women across Spain responded to this question. Their responses were later hand-written on to 400 masks.

In Between the Door and the Street, we used the process of collectively drafting questions in order to formulate a "territory for conversation" that could serve as a "script" for participants. Over sixty small groups of women suggested questions they would like to discuss, which were presented to a board of advisors who grouped the questions and consolidated them. These were sent back to the small groups to review back and forth until an agreed upon series of questions could be selectively addressed during each groups' participation in the whole performance.

When these collectively created questions were presented as installations and as a film at the Sakıp Sabancı Museum in Istanbul, the curator Ahu Antmen suggested we create a place for visitors to leave their own questions. To my surprise, over 1500 questions were left during the exhibition. I'm excited that the Sakıp Sabancı Museum will be continuing this project online as a way to spark conversation around issues raised in that project, and even more important, those questions that are specific to women in Turkey.