with(in), with(out) me responds to the attraction elicited by an image, its signifiers (sign), and its effect (action). The work is inspired by what is, very likely, the first artistic representation of bodily contact in Western art: a Greek vase depicting a wrestling exercise. It does not show isolated individuals but rather interacting bodies. The sign embodied in this gesture depicts a scene of inter-relationship. Thus, with(in), with(out) me is structured around the tension between the performative (shared experience), the real event (objective action), and the simulation (artistic object). What is experienced when the idea that human contact begins with a fight is accepted? What does that image question in our present society? It is an exercise of abduction, of the relationship with the other (body), not of the other, until the other’s body become a living extension of one's own.