Dance has occupied an important aspect of Morris's oeuvre, involving the artist's creation of rudimentary, box-like props that anticipated his Minimalist objects and concern with viewer interaction. In the 1960s, the artist choreographed and performed a number of works for the New York-based collective known as the Judson Dance Theater, including Site. In the piece, first performed at the Surplus Dance Theater with the visual artist Carolee Schneemann, Morris, wearing a mask of his own face (madeby Jasper Johns), systematically carried away four-by-eight foot sheets of plywood to reveal a nude Schneemann emulating Edouard Manet's Olympia (1863). Morris maneuvered the boards around the stage, until finally using them to again conceal Schneemann, all the while the sound of a jackhammer played repeatedly in the background. Site recalls Box with the Sound of Its Own Making through its use of an audio recording and focus on the banal (de)construction of a wooden structure, but here the situation is more complex and ambiguous; it is unclear whether the anonymous masked Morris or the nude Schneemann, whose pale skin and white backdrop discourage attention, is the focal point of the performance-an ambiguity that prompts the viewer to consider the relative importance of the artistic process versus the resulting artwork itself.