Where does one finally decide to put Balanchine? Or Cunningham? Or Rainer? Or Waring? Or Michelson? How does one see their works as the intersection of various (often overlapping) questions and ideas and techniques, without squashing the crucial differences among them?

This is of course the work of serious history, of serious art. And if I get all worked up and take it too seriously, I’ll consult our spirit guide Denby again. Since if there’s one thing Denby emphasized above all, it was that none of this dancing and writing is really any good unless it’s also fun. Serious fun.