“The film combines men and women almost equally, capturing their exposed buttocks in a tight frame that results in quadrants of flesh, hence the “No. 4″ of the title. Since the telltale part of the human anatomy is facing away from the camera, the viewer is left to parse out identity based on subtle signs of difference, including hair, fat, and shape. Motion comes into play because the subjects are shot while walking, a fact that can be guessed by carefully watching the film and that is proved in a production still, which illustrates the simple rotating contraption on which they moved in place.”

Credit: Waxman, Lori. Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus. Sternberg Press, 2017. Page 261.