Strolling through the streets of Paris at the end of the nineteenth century, an urban observer happens on an advertisement for the Folies-Bergère, a music hall and revue theater (fig. 1). Illustrated on this poster is a slim, captivating woman; her posterior is exposed, and she is on her tiptoes in heels, coyly look-ing back at the spectator. Her flowing hair creates the impression that she is in motion, and her body is draped in a billowing material. One could perceive the diaphanous fabric portrayed with bold, expressionist strokes as being sep-arate from her body, but on the other hand she seems to wear the textile as a second skin or even an appendage, creating a cinematic superimposition.The woman on the poster is an eroticized representation of the US-American dancer Loïe Fuller, who actually had a stockier frame. Fuller came to Europe around 1900 to perform in variety acts such as the skirt dance, in which she maneuvered a large piece of fabric around her body in choreo-graphed patterns. To further her reach and create a greater impression, she manipulated poles attached to the drapery. In the theatrical setting, colored-light gels beamed onto her draping material, which functioned as a canvas. While the poster advertisement (1893) by PAL ( Jean de Paleologue) reflects a more seductive image than her real appearance, the artist seems to combine two striking elements that form a dynamic tension: dance movement and city space. Dance scholar Ann Cooper Albright identifies a rough city skyline in the upper left corner in the splotchy design of the fabric.1 PAL renders the lighting effects onto her fabric as an expressionistic (stylistically early for the time) metropolitan cityscape combined with her sensual dancing body. One might also discern a slight but colorful, kaleidoscopic effect. Based on this representation, is the city giving her the strength and opportunity to perform? Or does she create the urban space herself ? One aspect seems certain: PAL’s advertisement interweaves the dancing body and the projection of a city space as if they had almost become a single entity. Concerning the amal-gamation of dancing body and space, Margareta Ingrid Christian’s Objects in Air: Artworks and Their Outside around 1900 investigates similar ideas about how the external space surrounding artwork—often considered to simply be air—creates aerial environments, which can be considered their own aesthetic categories.2 These artistic organisms auratically reach beyond their physical confines and become incorporated into their own milieu or Umgebung.3 This phenomenon clearly happens to Fuller in the poster.