Performance is by nature slippery—the work exists only in the moment of its enactment; later, as something remembered or recounted in stories, it’s filtered through someone’s lens. So, if you’re a museum like the Walker that “collects” performing arts, where does this leave you? With plenty of questions and access to top thinkers in the field.

Citing work with artists as diverse as Young Jean Lee, Bill T. Jones and Laurie Anderson, Coolhunting profiles the Walker’s Philip Bither, “one of the most progressive curators of the interdisciplinary arts.” News to us: His grandfather was a jazz banjo player.

“[I]t seems that many of the visual arts curators currently working to promote visual arts performance lack knowledge in contemporary performance,” writes Andy Horwitz, “and I think this presents a problem, as well as a challenge.”

Video projections, a beer-swigging Herakles, a sample from the movie His Girl Friday: Big Dance Theater’s Annie-B Parson and Paul Lazar discuss the choices they made in adapting Euripides’ 438 BC tragicomedy Alkestis to give it resonance today.