The paper investigates Hugo Ball’s aesthetic reflection on Modern art in his early essayistic works, starting from his reception of Futurist paintings (Die Reise nach Dresden, 1913) and Kandinsky (the lecture held in 1917) over his engagement with Wedekinds (1914) and Rudolf von Labans theatrical breakthroughs. By exceeding the conventional categories of vision and perception, and introducing the issue of energy and ‘presence’, Modern art undermines the linear understanding of time and the traditional notion of space and spatiality.