When I first saw Elizabeth Streb’s work in the 1970s, she and her colleague Michael Schwartz were sliding down a slanted platform in the middle of Dance Theater Workshop, scrambling up it, and sliding down again. For quite a while. The piece satisfied all the current definitions of Minimalism. The movement was pared-down, basic; the materials were ordinary and unglamorized; the wooden ramp and the chanciness of impeded gravity necessitated the kind of small variations and adjustments... More >>>