Lightsey Darst offers a diary from this year’s night-long Twin Cities festival: “It’s beautiful and it’s bullshit all at once. What you see depends very much on where you choose to stand.”

Sam Landman treats the world of comics conventions like a casino: Enjoy the cosplay and meet-&-greet, take a set amount of cash to buy books, and then leave while you’ve still got the “Nien Nunb is my co-pilot” shirt on your back.

“You will be disturbed, amused, confused,” writes Lightsey Darst of Chris Yon and Taryn Griggs’ new dance work. “You will suffer moments of enlightenment without content; you will surprise yourself by thinking five thoughts at once.”

Deciding to leave the conventions of club play behind, pianist Jeremy Walker sought inspiration in classical and other forms outside his own. The result—7 Psalms—ended up being the most “jazz” thing he’s ever done.

Sheila Dickinson reviews Art(ists) on the Verge at the Soap Factory, featuring works on art and technology by Chris Houltberg, Sarah Julson, Mad King Thomas, Asia Ward, and Anthony Warnick.

There was a lot of “dancing naked in public” Saturday at Public Functionary. That’s how Jerry Saltz describes what artists and critics—and by extension, curators—do when they produce, present, and publish.

For the May edition of the You Are Hear podcast, Sam Landman contributes a story that falls somewhere between Philip K. Dick, David Ives, and Joe Frank.

Lightsey Darst on Greg Waletski’s swan song with Zenon, SuperGroup’s work for Momentum 2013, and her own exit from the Twin Cities scene.

Lightsey Darst remembers John Munger, “dance everything” in the Twin Cities arts community: dancer, choreographer, student, teacher, writer, administrator, activist, and curator—in short, a “human exclamation mark.”