Beginning in 1995, Laura Lima has created a series of works in which she introduces the human body as leading element, thereby drawing near to the traditional use of the nude in the course of art history. The artist presented two living sculptures from the series Homem = Carne / Mulher = Carne [Man = Flesh / Woman = Flesh] that involve men, women, their bodies, and the devices they use to carry out their respective actions. In Marra (1996), the heads of two men are united by a hood. They move together fighting until they are too tired to continue. In Dopada (1997), we see a woman lying on the floor, sleeping in the exhibition room for the whole duration of the show. Every time that she display the piece she selects new people and training them to perform. In addition to interrogating the museological object bound to be collected, this condition further expands the classical narration of performance, a term the artist denies in relation to her work.