The contemporary art world has shown increasing interest in dance and theater in recent years, from exhibitions like Bernard Blistène’s “A Theater without Theater” in Barcelona and Eva Schmidt’s “Ver bailar” (Seeing Dance) in Seville to reconsiderations of the choreography of Michael Clark or Yvonne Rainer, not to mention the cross-continental enthusiasm for Jérôme Bel and Tino Sehgal. For Bel and Sehgal, this interest has progressed to the shrewd incorporation of dance and the- ater in order to stage a theoretical soft-shoe around issues of spectacle, the commodity, the institution, and aesthetic