The third piece consisted of clothes or an exoskeleton that the user wore on his or her knees. The video performance was created with a static camera, which recorded the arrival of the user to the spot where the exoskeleton was laid out, ready to be attached. This was followed by a routine performance of an action that was dictated by the clothes and the undressing and return of the clothes to their dedicated space. The calm and apathic tempo dictated repetition or a routinely performed process.​

If we look at Wear III in conjunction with the first two, it serves as a continuation or escalation of the banalisation of the production process. In this case the creator, the artist, can merely smash his artwork against the wall, kneel and demand attention through the noise he creates. The soundscape is limited to the sound of the head hitting the wall. As I, as a performer, do not seek eye contact with the camera, the viewer does not identify with the protagonist in the video performance.

​As this was the third artwork in the series, I started contemplating the work method a bit more seriously. Until this point, I have used the same artistic medium to address a similar theme three times in a row. After certain consideration I have developed a method, that I – to a certain extent – continue using even today.