The movements present in Second Quartet are not immediately recognizable. Rather, they are motivated by concrete goals—such as avoiding, striking, throwing, pushing, and resisting—but impeded through the use of specific strategies. The targeted objects are not present, or body parts used during the movements are ill-suited for their goals. For example, a dancer may hit an imaginary object or attempt to push another dancer with his throat or rib cage. Without the spectator having to recognize the motivations behind these incomplete movements, they are intended to stimulate his or her own physical memory by appearing directed or defined by something that is invisible. This openness allows images, physical expectations, and other associations to inform the spectator’s perception of the movement itself.