Graham has stated that his works are “models to define the limits of an idea of representation as the conventional limits which necessarily define the situation between the artist and spectator,” and his performances in the 1970s foreground this relational approach. In these works Graham explicitly invokes theories of structural linguistics, especially the work of Jacques Lacan. Graham's 1972 performance piece "Two Consciousness Projections" underscores a preoccupation with phenomenological aspects of relationality, utilizing the reflective capacities of video feedback. In the performance, a woman sits in front of a monitor displaying her image from the live feed of a video camera held by a man behind the monitor and attempts to narrate her conscious mind, while the man describes her as he watches through the camera. This work presents an experiment in self-perception and representation, modulated by numerous mirroring agents—the woman's own image on the monitor, the “image” of her depicted by the man, as well as both performers’ awareness of the audience. In his own writings, Graham articulates an interest in deconstructing the divisions between interior intention and visible behavior formed when looking at one's reflection in a mirror, proposing video feedback as both a technical and conceptual means by which to achieve this. Many of Graham's performance pieces work to exhibit and exploit the spontaneous interaction between thought and expression, inside and outside, extending this dissolution of barriers to dichotomies of performer and audience, private and public. Graham's most complex interrogation of this is the performance Performer/Audience/Mirror (1977), in which he stands between a large mirror and an audience, describing himself, the audience, his reflection, and the audience's reflection in sequential phases of continuous commentary. Expanding upon the themes in Two Consciousness Projections, this work implicates the audience in their own feedback cycle of self-perception.