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Her intimate bantering with the audience was almost too much, and one found oneself fearing that she would fly off the handle at any moment.

She seemed stifled, slightly ill at ease, almost hysterical.

Karen Finley wrote various books that focus on controversial topics.

She wrote Shock Treatment, Enough Is Enough: Weekly Meditations for Living Dysfunctionally, the Martha Stewart satire Living It Up: Humorous Adventures in Hyperdomesticity, Pooh Unplugged (detailing the eating and psychological disorders of Winnie the Pooh and his friends), While Karen Finley was a student at the San Francisco Art Institute, she became immersed in the Bay Area's punk music scene, witnessing the emergence of the bands The Dils and the Dead Kennedys.

The grant that is up for approval, she said, is a solo performance grant ''for me as an artist to continue working.'' The application, she said, does not require the artist to specify what kind of performance would be created under the grant. Novak wrote about ''We Keep Our Victims Ready'' with no consideration of its context or intent.

In a letter published in The Washington Post on Saturday, Ms. ''My work is against violence, against rape and degradation of women, incest and homophobia,'' she wrote.

Karen Finley is the latest artist to be singled out in the continued attacks on the financing policies of the National Endowment for the Arts.

She is a humanistic—rather than intellectual—artist. Almost childlike in her openness, she reveals her whole self while performing.In 1977, Finley performed in underground art galleries and music clubs such as Mabuhay Gardens and Club Foot, which hosted poetry readings, punk concerts, and alternative performance art acts.Finley's performance Deathcakes and Autism included a dancer, called "Laurie", from the Condor Club.Finley believes, treated women badly, and, more than anything, against what she perceives as widespread inequality in America. Finley in the storm over the National Endowment is a recent syndicated newspaper column by Rowland Evans and Robert Novak in which she was cited as an example of the trouble the endowment has brought upon itself because of its willingness to finance exhibitions that might be considered obscene or without ''true artistic merit.'' The performance that drew the columnists' attention is called ''We Keep Our Victims Ready''; it was performed at the Walker Art Center in Minneapolis this year and is to be performed on June 25 at the Serious Fun festival at Lincoln Center. Jacob Neusner, a member of the council, said, ''We are listening to our critics.'' The performance in question, Ms.Finley said on Friday in a telephone interview from her home near New York City, was not Government-financed.




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