Joan Aco­cel­la for The New York­er:

In addi­tion, the con­cert recalled a time that many of us have prob­a­bly for­got­ten, or nev­er knew, when dance was not yet almost by def­i­n­i­tion a polit­i­cal action—before ques­tions of gen­der, race, and the like became so cen­tral to the con­tem­po­rary arts scene. When Cun­ning­ham and his part­ner, John Cage, were start­ing out, in the nine­teen-for­ties and fifties, they, too, were oper­at­ing in a realm of polit­i­cal strife: not just the Sec­ond World War but then the Cold War, and the Red-bait­ing (aimed espe­cial­ly at peo­ple like Cage and Cun­ning­ham).

Pho­to: Pao­la Kudac­ki