From his first photograph album Tulsa (1971) to Marfa Girl (2012) his latest film – and in between his entire filmography1 and collection of photographs2 – he has relentlessly tracked down the youthful bodies of American fringe adolescence, examined their damaged flesh and probed drifts and malaise. His work, as an art of touch and palpation, creates a special relation to the sense of touch in which the characters’, spectators’ and film director’s look becomes prehensive and haptical. The present article aims to explore the tactile dimension of Clark’s cinema and analyze the sensitive modalities by attempting to show how the picture in Clark’s works, which is often depicted as perverted and voyeurist, is above all a reflexive image.