Annie Sprinkle performed Post-Porn Modernist at The Kitchen twelve times over two weekends in January of 1990. The show, directed and co-written by Emilio Cubeiro, drew on Sprinkle’s history as a porn star, sex worker, and sex educator, and was performed in a series of scenes, with titles such as “Sex Toys for World Peace,” and “100 Blowjobs.” In “Annie’s Cervix,” later renamed “Public Cervix Announcement,” Sprinkle invited the audience up to the stage to look at her cervix with the use of a speculum and a flashlight. Post-Porn Modernist cheerfully critiqued stereotypes and reservations about sex, porn, gender, and sexuality, encouraging the audience to shed anti-sex values and embrace their bodies and sexualities. This performance at The Kitchen was presented at the height of the AIDS crisis, when American society either condemned or feared sexual acts that broke social norms. It also occurred around the time that the National Endowment for the Arts (NEA) was under national fire for sponsoring sexually explicit or overtly political art. During her performance at The Kitchen, Sprinkle joked, “Usually I get paid a lot of money for this, but tonight it’s government funded!” Because The Kitchen received funding from the NEA, this brought The Kitchen into the national debate, even though Sprinkle’s performance itself did not receive NEA grant money.