Marina Abramović’s pivotal work in the field of performance art is known for its formal clarity and for the centrality of the artist’s body as a site of self-transformation. These characteristics are also present in “Energy Body,” which relates to Abramovićʼs body of work “The Energy Clothes,” a series of objects, conceived in 2001, to be worn while performing everyday activities. The elongated cones, serving as hats, masks, or bands and made of luminous colored silk, are energetically charged by magnets. In a series of photographs first printed in 2023, Abramović, alongside a group of performers, is depicted sitting in the park, rowing on a lake, or ironing a shirt while wearing the energy clothes. With the props’ bright colors standing out against mundane backdrops, the actions performed seem surreal, and the group appears to move in ceremonial unison.“Energy Body,” an accompanying drawing, is reproduced in a limited edition of 35. The body of its genderless figure is ­ divided into different sections, each equipped with a pointed garment – quickly ­ sketched cones positioned at the crotch, over the heart, in front of the eyes, and on the head. A spirited red curve around the latter indicates the energetic charge symbolically expanding the figure’s consciousness and captures the high tension of Abramović’s performances. “The Energy Clothes” offers a more accessible route for spiritual transformation than the procedures at play in many of her iconic works: transgressions of physical, mental, and emotional boundaries that serve to alter performers’ and ­ viewers’ consciousness. Yet, at least formally, the triangular tools punctuating the figure in this edition might as well be sharp as a knife’s blade.