The fixed point of the exhibition, the “Arena,” served as the site of the choreography, i.e., movement in space. At exhibition locations in Tel Aviv and Berlin, an architectonically custom-made, flexible, and adaptable space was created, in which the exhibitions––choreography for choreography, exhibition piece for exhibition piece––continued to unfold over the entire duration of the exhibition period. In this way, the experience became less about wandering and more about permanent positioning. Choreography was taken as an extended practice which, initiated by artistic research, produces space instead of filling it. The artists went on a research trips to Tel Aviv and Berlin in order to develop new works which responded to these locations. The “Arena” became the space of the exhibition and movement, in which live performances, actions, and shows took place simultaneously. The project connected current discussions about the extended concept of choreography with the search for an extended concept of memory culture. Just as choreography is separating itself in the current art discourse from classical dance ensembles, the debate around memory culture is also beginning to separate itself from classical forms such as monuments and memorial sites. Common to both new approaches is the search for forms of progressive instability and memory, which avoid monumentality. Contrary to the imagination of history as protocol, in the form of artistic choreography, remembrance becomes an open forum for analysis and production, enabled by a variable set of artistic tools.