TIP THE IVY,  the latest stage work by Colin Self, is an opera about language. First performed last year at Halle für Kunst Steiermark in Graz, Austria, it recently had a three-night run at Performance Space New York, which cocommissioned the piece. Like many of Self’s productions, Tip the Ivy is heavily collaborative, this time featuring Bully Fae Collins, Cornelius, Dia Dear, and Geo Wyeth as well as a choir, or “XOIR.”

More specifically, Ivy is an opera about the sociolect of queers, sex workers, and entertainers in nineteenth- and early twentieth-century England, known as Polari (also spelled

WHAT A DIFFERENCE A DAY MAKES! Or—in the case of my recent two-part trek to the Kitchen to experience multidisciplinary artist Sadie Barnette’s installation-as-performance-site The New Eagle Creek—a couple of weeks. Presented in collaboration with the Studio Museum in Harlem, Barnette’s work (or the beginning of it) is a shimmering recreation of her father Rodney Barnette’s now-shuttered San Francisco watering hole, The New Eagle Creek Saloon (1990–1993). The establishment held special significance as the first Black-owned gay bar in the area, a response to the urgent need for a non-discriminatory

WHEN I HEARD THE AUDIO RECORDING of Malcolm Peacock’s feet running over gravel, his spent breath keeping the rhythm of his run, and then heard his voice—“Good morning. I wanted to provide some context this morning for what I wish to discuss on the topic of touch”—it conjured an intimacy familiar to me: when setting out early, in the quiet eclipse of day before the anxious demands of labor settle in, is marked by the presence of another in shared commitment. I am here as you are here: to breathe alongside each other. Otherwise, it may just be my body or yours moving alone against the dark, and

“WE SHOULD HAVE BEEN DANCE CRITICS,” said one art critic to another as they cycled through Berlin, bodies juddering as if struck by a frying pan. We were on our way home from Kraftwerk, a power plant turned club turned performance venue where, on the invitation of Light Art Space, Sharon Eyal, an Israeli choreographer and long-time dancer for the renowned Batsheva Dance Company, recently presented a number of the works she has produced with Gai Behar for their company, L-E-V. Soul Chain, 2017, the piece we saw that night, was a thing of beauty, but the kind of beauty that is exposed like bone

SMELLS LIKE CLUB. Or the emptiness before—air conditioning, fog machine, coat check. It’s been a while since I’ve been to anything, hiding from Ms. Omicron. At Perrotin, filing into Keioui Keijaun Thomas’s performance, my walk involuntarily saunters as the music transitions from soft nature murmurs to something more rhythmic. The club kids are here but we’re sitting, masked and muzzled. Enough Telfar bags to reskin a vegan cow. It’s 7 p.m. in New York. Definitely not club time, let alone dinnertime. We’re seated around a ring of paper bags, restaurant checks, dead leaves, and latex gloves. In

ON THE NIGHT OF NOVEMBER 30, a stuffed, though sacred, cow named Daisy presided over the Brooklyn Academy of Music’s Harvey Theatre, an opera house as weathered yet acoustically sound as the pair of queer Messiahs who joined her onstage proved to be as they launched into two hours of storytelling, Christmas songs, and quite a bit of drinking. As the story goes: Away in a manger one late December night, animals of various sorts attended the virgin birth of the nice Jewish boy who inspired the world’s most rabid fanbase. One of these animals was Daisy, who, while snacking on the local Bethlehemian

STRANGE THAT IT'S BEEN years since I last saw live performance. But everyone was exclaiming this now-familiar platitude as they busily embraced on the sidewalk at the intersection of Rivington and Orchard the past October, during the collective reunion which took as its backdrop and pretext Kevin Beasley’s The Sound of Morning. The first of eight commissions realized for this year’s Performa Biennial, the performance began almost unnoticeably. One of Beasley’s collaborators flung a deflated basketball into the air; another began methodically disassembling a black metal barrier that had been

NEARLY THREE YEARS AGO, the collaborators Julia Mounsey and Peter Mills Weiss (along with Mo Fry Pasic and Sophie Weisskoff) presented [50/50] Old School Animation at the Under the Radar Festival at the Public Theatre in New York. The show tapped into a sense of paralyzing apprehension—the overwhelming, awful feeling that something very bad was about to happen, and there was little we could do to stop it.

While You Were Partying marks the furious return of Mounsey and Mills Weiss, this time in collaboration with Brian Fiddyment (all three of whom also perform in the piece). The show, now at Soho

FOR MORE THAN FORTY YEARS, Ericka Beckman has coaxed viewers to assume the perspective of a child. Her earliest films, in 8 and 16 mm, featured simple performances, bright geometric shapes, and crude computer graphics layered into staccato vignettes. (Critics such as Sally Banes have likened their looping, repetitive structure to children’s songs.) The camera was her editing tool: Beckman double-exposed the film to alter the tempo and animate the tableau. Rehearsing the dynamic between caregiver and ward, teacher and student, these early, small-gauge works complement pieces such as Joan Jonas’s

FOR MORE THAN FORTY YEARS, Ericka Beckman has coaxed viewers to assume the perspective of a child. Her earliest films, in 8 and 16 mm, featured simple performances, bright geometric shapes, and crude computer graphics layered into staccato vignettes. (Critics such as Sally Banes have likened their looping, repetitive structure to children’s songs.) The camera was her editing tool: Beckman double-exposed the film to alter the tempo and animate the tableau. Rehearsing the dynamic between caregiver and ward, teacher and student, these early, small-gauge works complement pieces such as Joan Jonas’s

DRIVING THROUGH DOWNTOWN SEATTLE, I saw construction everywhere, luxury housing for tech employees rising up around small tent cities. I was a tourist, visiting for a week to check out the New Now Festival, which is being presented by interdisciplinary performance venue On the Boards and curated by its artistic director, Rachel Cook. This is the first time in eighteen months that On the Boards has been open for business, although the space provided residencies and support to artists during quarantine. Before a performance of Beyond this Point’s Reclaimed Timber, executive director Betsey Brock

STORM KING ART CENTER is located in the Hudson Valley, about thirty miles south of the birthplace of nineteenth-century black abolitionist, feminist, and utopian seer Sojourner Truth. It sits on the ancestral territory of the Munsee Lenape nation. Bringing a black presence to outdoor sculpture in this verdant rural area should be less a matter of making space for diversity within white art worlds, and more a matter of challenging the terms upon which our histories have been violently erased from the landscape, and yet remain tangled up in its undergrowth.

A recent work by Rashid Johnson with