In Ligia Lewis’ minor matter the stage is striped bare to explore the blackness of its limits. In this entanglement between architecture and embodiment, Lewis operates with dense scenic layers of sound and movement, to convey a specific discursive and affective choreographic arena: a phenomenology of anxiety and the somatization of long-term exhaustion. Engaging with affect, empathy, and the sensate, Lewis’ choreography considers the social inscriptions of the body while provoking its nuances and potentiality. As practitioners in the visual and performing arts this work reaches out to those discourses that are analytically harder to articulate the suffused boundaries between affect and energy.