In his "Push Piece" (1970), Terry Fox had a dialogue with a wall by pushing it as long as possible, about eight or nine minutes, and "exchanging energy with it". The wall was located in an alley where Fox would park his car. Previously, he had no contact with the wall except to look at it. On this occasion he touched the wall and realized that he and the wall "were both and same" but up to this point had no "dialogue". When executing the piece he "felt it was somehow alive like a person".
"Corner Push" (Reese Palley, San Francisco, 1970) was the negative of the wall piece in that a corner is the "opposite" of a wall, and in this work Fox "felt those walls coming together" from the dialogue he had with the corner. "That was a short piece, it was hard to do. I was trying to push as much of my body into the corner. My feet got in the way. I tried to stand on my toes, but it didn't work. You loose your balance."
Fox 1, I(telb.zn.) 0.1 vos (ook fig.) 0.2 (AE;sl.) (lekker) stuk_mooie vrouw
II(n;telb.zn.) 0.1 vos_vossenpels, vossenbont
Fox 2 I(onov.ww.) 0.1 doen alsof_veinzen 0.2 zuur worden (v. bier)
II(ov.ww. 0.1 (inf.) beetnemen_bedriegen, te slim/te vlug af zijn 0.2 (inf.)
in de war brengen_uit het lood slaan 0.3 (vocht)vlekken laten krijgen 0.4
zuur laten worden (bier)
0.5 nieuwe voorschoen/neus laten zetten aan (schoen)