I learned the no-manifesto of Yvonne Rainer and wrote a manifesto of elusive sensuality. I dressed the performer to make her look like Yvonne Rainer and used a black wig for more similarity. I put her body to new and difficult conditions for the movement and create for it a system of “parts of the body-health wheels.” This system assumed the mechanization of movements, but sensuality came to the surface. This led us to the specific movements and sound. Health wheels were chosen to create the context and provoke a nostalgic sense of their experience in dealing with the wheel to the viewers. We worked with the virtuosity and the constant possibility of error and failure, relying on the involvement of the viewer, constantly provoking their attention, and creating new visual and sound experience.