In Agalma Todorović uses not only an exceptional media but also the exceptional technique. Here, like in some other works of his, the technique is provocation. Under provocation we don’t consider that term’s negative context — a banal seeking of reaction, but rather the creation of relations. The media of his work is a body situation. McLuhan defined the difference between warm and cold media in means of communication. This division was anticipated and described by Kafka as well. Warm media would be for instance a car in which Zoran could come to Zagreb, because it would be flesh‘n’bones communication. A letter is warm media because, because although you don’t get the actual person you get that person’s trail of some kind. The cold media is a telephone that we used more then once during progress of the work, but which couldn’t replace physical presence. In order to get close to us, Zoran used something that could be called hot media. He sent a piece of himself, surgicaly re-moved and transformed into the finest human soap. Bathing under the slogan Zoran foams well was a cleansing of female with the male, of curators with the artist, of Croats with a Serb. His body had become telepresent or to be more precise it func-tioned as a body of love in two places at the same time. And, as Lacan says, “To love means to give something that one doesn’t have”.