Three site-specific works allow even the most jaded New Yorkers to see the city’s commercial epicenter with fresh eyes.
Reggie Wilson’s Platform for Danspace Project considers the importance of houses of worship in the largely secular world of contemporary dance.
Mina Nishimura’s new work at Danspace creates not so much a world, but an atmosphere, a web of activity on the brink of dissolving.
The National Gallery embraces isolated artists, and Carnegie Hall marks Claude Debussy’s death.
The latest exhibition in the Manhattan park’s robust art program features three colorful structures for dancers, poets and musicians to perform in, on and around.
Our critic looks at how Koma (alone) reckons with vulnerability and age, and how François Chaignaud and Cecilia Bengolea bring mystery and oddity to Dia:Beacon.
In “The Ghost Festival” at Danspace Project, his first solo show, Koma pays homage to his dance ancestors.
The Japanese dancer, half of a duo with his wife Eiko, will return to St. Mark’s Church to expand an otherworldly piece.
A hypnotic, female spirit permeates two works: Adrienne Truscott’s “THIS” (“I know, you’re all like — this is a dance?”) and Lily Gold’s “Good Mud.”