“Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together, white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room, my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body, which for a long time remained in a catatonic position, with the soles of both my feet stuck as it were to the wall. […] I had planned to do some bodypainting for the second part of the performance. […] At first I poured black paint over the white objects, I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers, which ended by one of them leaving the room in a rage. […] My unease increased, as I became aware of the defects in my “score”-and should this not have any, the mistakes in the way I was translating it into actions. Recognising this, I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises, and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel.””

Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.
Source: Nervous Stillness on the Horizon (2006), P. 120 (1985)