The body takes measurements - standing straight as a die and posing parallel to the high wall in order to assert itself as a measuring instrument. As such, it enters the field of vision from the vanishing line at top left, in order to gradually move forward along the wall perspective and leave it again at bottom right after making fifteen equidistant approaches. From the very beginning, Klaus Rinke adapted constructive actions as primary demonstrations so that they were tailor-made for him. Since the late 1960s, the artist has used his athletically trained body in his drawings to reference tectonic units, his own limbs and the linear course of the element of water as it pulses through hoses like arteries. Photographs documents the phases of this processual movement, which progresses (as a body sculpture) over time. At the beginning of the action, Rinke focuses on the precisely calculated standpoint. The dominance of the artist's body, swaying to the right degree, lies, stands and then falls with the measurement units of selected, carefully located areas and spaces.