'and lines present scores to be performed by bodies' points to the reciprocal relationship between bodily movement and the line. The line acts both as a point of departure from bodily gesture, but also the score for which the body moves along. The site-specific work of Leonor Serrano-Rivas’ draws from the architecture of Wimbledon Space. Here, Serrano-Rivas considers the possibilities of its linear forms as a tool for performative choreography, and the relationship between the ornament and the body. Bill Leslie and Claire Undy's moving image toys with the two-dimensional parameters of filmic space, maneuvering sculptural objects in and out of the frame. These forms sit within a composition, recurrently manipulated by the choreography of the artists’ hands.