In the central plaza of a modernist residential complex, we see pairs engaged in conversation, in profile, which are the first and second dances, either the longitudinal intra-table or the lateral intra-table relation (in reference to the complete field of action which is rectangular and not square). It is the third dance when we see four bodies huddled toward each other in a rosette formation, each wedged into the angle of their individual space; this is a crossed relation of two intersecting pairs and not a foursome. The fourth dance is distinct from the others in such that the dance-floor appears half-vacant; all those occupying positions so that their backs face the outer edges of the floor retreat to the periphery, while those whose backs face other backs pivot to face their fronts. Aside from the radiant faces, the profiles in animated conversation, there are many backs to us. There are the backs of those at the tables, curved, tilted, leaning toward their pair or against the table, and then there are the straight backs of the guides, standing alone and still, in observation, without any supporting object. The poignant isolation and immobility of these figures escaped our original calculations, but has become the precise point around which the rest is ordered. El punto exacto.