I can mostly spot the parts where the odds are they might never be "just right" when reading the piece. Then, one should normally focus on those parts but I will often be just all over the piece bc it is of course more fun and besides those "parts" should get better over time too. Yeah, right.
There is one place in op 25 no 12 on 2nd page that felt a little uncomfortable and I stumbled there at times. So shortly before the recital I ironed that "part" out as it seemed. And guess what? When performing it came back (of course!) and I produced an array of perfect arpeggiated dissonances

It was just not possible to correct so the whole run sounded like this and hearing this I felt like, forgive my language, puking. Luckily, I heard my voice in my head saying really harshly: keep going! and I just did and the rest went ok.
Now I try to work on such "parts" at the beginning of practice session when I am most focused.