Ntozake Shange (1991), profiling the company for the New York Times, wrote that Zollar takes "women's bodies, racist myths, sexist stereotypes, post-modern dance conventions and the 'science' of hip-hop and catapults them over the rainbow, so they come tumbling out of the grin of the man in the moon." This is another way of expressing Zollar's unique vision, her ability to strip dreams and creativity of sentimentality and romanticism, embed them in the hard stuff of reality--the politics of racist and sexist hierarchies, the degradation of poverty and homelessness--and locate the power of the spirited body to move on. She beckons to a world beyond the modern wasteland, where the only flowers visible are sprouted from rotting corpses. In her ability to look at and respect the past, to build on what has been learned from it and point out directions for a more humane future, and in her reliance on the embodied human spirit, Zollar is a postmodern, feminist, resistive choreographer of unique talent.