This work stages an act of ontological sabotage. A hand‑muscle training tool—normally defined by its Zuhandenheit, its readiness‑to‑hand—is immobilized in epoxy and placed inside a decorated glass vessel on a marble plinth. Once fixed in resin, the tool can no longer function; it shifts abruptly into Vorhandenheit, mere presence‑at‑hand. What was designed for repetitive self‑improvement becomes a frozen relic, stripped of agency yet elevated as if it were an object of devotion. The transparent pink epoxy layer, a synthetic intermediary, interrupts the hierarchy between marble and glass. This added stratum introduces a cosmetic, almost bodily ambiguity, intensifying the destabilization of the object’s original ontology. The work examines how everyday tools can be dislodged from their intended mode of being. By suspending effort inside a decorative frame, the piece exposes how easily purpose, value, and meaning can be reassigned—or sabotaged—through material intervention.