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At their first meeting at the Formosa Cafe in West Hollywood, choreographer Anita Pace was surprised by Mike Kelley's knowledge of dance. It was the start of a connection that led to artistic collaborations and a romantic partnership. "Pansy Metal/Clovered Hoof" (1989) comprises ten silk scarves emblazoned with imagery riffing on Kelley's Irish-American heritage. For a performative presentation of the same organized by Rosamund Felsen Gallery at a private loft in Los Angeles, Pace choreographed a fashion show with headbanger dancers wearing the banners. Other collaborations included "Blonde Condition" (1990), "Beat of the Traps" (1992) with Stephen Prina, "Pole Dance" (1995) with Tony Oursler, and "Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses" (1999). "He always had this mixture of yin and yang with his own body," says Pace. "He was smaller when he was growing up. He liked to be expressive with his body. He was really extreme with his clothing. I think he could adapt to movement as a form of communication, as well as art." Directed by Emma Reeves Shot by Tom Salvaggio Edited by Owen Schwartzbard Photos courtesy of Mike Kelley Foundation for the Arts, Jim McHugh, Anita Pace and Fredrik Nilsen All Kelley artworks (c) Estate of Mike Kelley. Courtesy of Mike Kelley Foundation for the Arts