Throughout the 1970s Horn made performances where she wore elaborately constructed costumes, such as ‘Cockfeather Mask’, to alter her interaction with others. With the feathers she caressed the face of a person standing close to her, filling the intimate space between them with tactile tension. As the architecture of the mask obstructed Horn’s sight, she could only see the face of the other by turning her head to look with one eye, mimicking bird movements. The mask and plumage becomes a device for communication and sexual display.