Practice makes perfect, as the saying goes. But what happens when an action is framed as an art to be perfected, so that practice never culminates in definitive skill? When the same pirouette, as brilliant as it appears on stage, remains perpetually imperfect in training? This ethnography explores practice as a fundamental aspect of all human activity through the lens of classical ballet, where it is socially differentiated, dramatized, and framed as eternally unfinished. A body undergoes a profound reconfiguration in ballet classes: as it focuses on actions to be practiced, the body becomes conspicuously unfinished. In this process, it is transformed into a cultural artifact, dissected into a collection of idiosyncratic muscles against the backdrop of anatomical knowledge, while also serving as an aesthetic form, a space for musical resonance, and a medium for expression.