In Oliveira's final print, the torso — supported from below — resembles an early Greek or Roman statue. But in the working proof, the torso is suspended from a common hanger that the artist drew onto the paper with a pen. Hanging, the form reads less like a substantial marble and more like a dancer’s gauzy leotard. Oliveira ultimately decided against adding the hanger — if, indeed, he ever seriously considered it — shifting the tone of the work from highly whimsical to highbrow.