Accepting the impact of external factors is one of the keys to Anderson’s success. In Duets on Ice (1974), an early performance in which she played violin in ice skates frozen in blocks of ice on the street. The performance would end once she fell because the ice, in which her skates were frozen, had melted. While still retaining a certain degree of power as creator, Anderson yields her force to guide the desired outcome but does not act as a dictator who excludes the variations that may naturally occur from performance to performance. For example, the previously mentioned Duets on Ice changed in outcome from one performance to another depending on the audience and where it was performed. On the occasions of performing in Italy in 1974 [sic], Anderson’s performance was narrated by an audience member in Italian, who was well meaning but also mistranslated much of the artist’s message to a slowly growing audience, with this new narration the performance took on a whole new meaning that Anderson could not have produced alone. Anderson had initially chosen to freeze her ice skates in blocks of ice to reference the geese she had seen on the day her grandmother died, that were stuck on the lake because their feet had been frozen undera layer of ice. Instead the ‘narrator’ told a story of Anderson and her grandmother being frozen in a lake.  [Krivchenia, 2017]