The labels accompanying Cindy Sherman’s photos at the Walker are at once unnecessary and gross, argues Lightsey Darst: “They reduce Sherman’s kaleidoscopic effect to unitary statement.”

A playlist for unsettling times: “The noise of division and cynicism, exploitation and condescension, and oligarchical finger wagging are silenced by this music’s sound and beauty, at least for a moment.”

Lightsey Darst never felt the new Cowles Center crack its cold facade until J-Sun’s Hip Hop!, which gave the venue the feel of a high school gym—in the best possible way.

Rei Kawakubo’s costumes for Merce Cunningham’s company created a best-case scenario: a classic in the annals of modern dance, artistic collaboration and fashion history.

A dance critic who “can’t abide most theater” sees Rude Mechs’ The Method Gun and—surprise—isn’t blown away. She does, however, like the tiger.

The You Are Hear podcast launches its 13th edition with a conversation on storytelling through music with legendary blues man Charlie Parr.

Skewed Vision’s Charles Campbell variously calls what he does “dance, installation, object-theater, Interstitial Cross Media Platform Dingleberry Time Enhancement… What the hell is theater? I don’t know. Who cares, really?”

“It had a vibe, right? Spaces have vibes,” said Shawn McConneloug of SpaceSpace, the endearingly named rehearsal space and theater on the southern edge of downtown Minneapolis that recently closed after more than two decades.

In a poetic dispatch from Minneapolis’ David Petersen Gallery, Jay Orff heads to City of Seals to experience the work of Kristopher Benedict and Fabienne Lasserre.