The experimental theater and performance art of the last decade have been frequently decried as apolitical by critics whose model was the radical theater of the Vietnam era. Unlike for their predecessors in the 1960s, it has not been possible for contemporary performance artists such as Spalding Gray, Laurie Anderson, Andy Kaufman, and Sandra Bernhard, in their critiques of postmodern culture, to represent themselves as somehow outside of the culture they are critiquing. Postmodern culture is so thoroughly saturated by media images and information that contemporary political art has had to find ways of mounting a critique while acknowledging its position within the culture.