“In an after-show discussion, Fernandes, himself a former ballet dancer whose artistic practice often includes themes of physical endurance, remarked that the devices were meant to serve as both burden and support. They also helped illustrate the architectural lines of the ballet form and, when not in use, had a beautifully ominous presence in the bright white rooms with their oak trim in the Prairie-style mansion.”


Sharon Hoyer. “Of Ballet and Bondage: A Review of Brendan Fernandes’s The Master and Form at the Graham Foundation.” Newcity Stage, March 6, 2018.