Since the beginning of the 1990s, there has been a focus in dance on the materiality of the body in motion. Far from representative gestures, it is deformed and deconstructed. Increasingly, a close relationship emerges between fluctuating body concepts and the finding of a pattern formation in such artistic productions. The book explores this contradiction and reexamines the question of scientific category needs. Through a comprehensive view of contemporary dance, which also incorporates examples from ballet, the grotesque dances of the 18th century, and the 1920s, the unfinished is highlighted as a central aesthetic practice, without systematically fixing it. Special attention is given to the topos of the grotesque as a boundary and analytical figure of phenomena of the "unfinished," compared with artists.