With performance the natural amalgamation of body and space was inducted into art’s repertoire of expressions, which, up until then, had largely relied on two and three dimensions in its forms of depicting externality or of constructing narratives grounded in the real, including the most radical iconoclasm. Introducing the body and its movement through space, or its mere occupation of it, adds a time-based element to artistic representation, which is then no longer justdepicted reality and instead constructs a real moment. On the other hand, actions break away from the univocality of authorship and the ego, while at once questioning artistic fetishism, given that, in the best of cases, the resulting work is a recording of the action; but the time of this observation is of a different order, and thepresent vanishes and gives way to apresent. If we accept that determinacy includes an usduring the time when it takes place, then indeterminacy turns it into a result, a commodity. In this regard, when time and space converge, they construct something else that does not depend exclusively on one or the other, but on the indivisible presence of the two, taking on the character of prime numbers which can only be divided by one and by themselves.