Beecroft’s Kaldor project, VB40, 1999, was the fortieth in the Italian artist’s series of works, most using nude and semi-nude women presented in formation. Twenty models, positioned by Beecroft and following rules of deportment, stood for a period of two-and-a-half hours at the Museum of Contemporary Art, Sydney. Conforming to an ideal image of “Australian athleticism”, the models were dressed identically in bras, red stockings and red Prada heels, accentuating Beecroft’s fascination with the disjuncture between discipline and disorder, observation and self-obsession, uniformity and individuality.