Tango can be danced in many different ways. For example, it can be danced in a virtual embrace where the two partners dance around each other without any actual physical contact. The man leads the woman by sending a visual signal from his torso to show how he wants her to move, and the woman follows the visual lead to carry out the step. A visual lead is difficult to perceive because it must be seen and cannot be felt. The difference between different signals often is so subtle that it is hard to discern by the eye. It's a challenge for the man to send a clear visual signal and for the woman to apprehend it. Also, a virtual embrace lacks the physicality, comfort and sensation of a physical embrace. It disables movements that require physical support. Despite these limits, the virtual embrace discloses an important distinction between lead and follow: the former is to plot the dance, and the latter is to beautify the dance. (See The Gender Roles in Tango.) It also reveals the fact that lead/follow is not just a physical process but also a psychological one, requiring mental concentration and comprehension. The awareness of this fact is important because one cannot dance well with the feet unless one can dance with the heart.
Experienced dancers may also use some variations of the close embrace to increase movement possibilities. One variation is the V-shaped embrace in which the two partners are connected by one side of their torsos and leave the other side open. Another is to increase the gradient of the bodies to allow more space between their legs. The combination of the two is still another option. These variations require better flexibility and stamina of the body. In reality, dancers often switch from one variation to another in the dance. For example, when doing the front ocho, the woman may change from one side V-shaped contact to a chest-to-chest contact to another side V-shaped contact.
The choice of embrace may be affected by many factors, such as the physical conditions (flexibility and stamina), styles (movement inclination or feeling inclination), purposes (social dancing or performance), environment (floor density and milonga codes), music (fast or slow tempo), movements (fancy or simple, large or small steps), maturity (age and experience), and genres (tango, vals or milonga) etc. Every embrace has its merits and limits. Many dancers alternate from one embrace to another back and forth in the dance. Mixing different embraces may bring their skills into full play, thus increase the expressiveness of the dance.