In this chapter I develop a way of conceptualizing the political significance of the ways in which Meg Stuart’s choreographic approaches challenge the perception of dance. I will make use of the concept of sculpting of spectatorship as formulated by Carrie Lambert-Beatty in her book on the work of Yvonne Rainer, Being Watched (2008). Lambert-Beatty writes that what drove Rainer’s work was the politicized problem of ‘the status of the body as a thing to be viewed’ (2008: 4). 1 This led Rainer to explore strategies for staging the dancing body that made the spectator aware of the divide between spectator and performance. The strategies for creating this awareness are what Lambert-Beatty calls ‘sculpting spectatorship’.