“The sculptures, which were referred to as tumblers, were large metal objects that looked almost like giant jacks, each with its own idiosyncratic design. Swings and ropes were also arranged around a circular rug lying in the center of the gallery, that was intended to remind the audience of a classroom rug and served as a meeting point for the dancers. Lastly, a three-dimensional grid, composed of thin pieces, lay low to the ground, creating a strange constraint for the dancers to amble in and out of.”


Dani Smotrich-Barr and Claire Femano, “Brendan Fernandes’ “Inaction” Queries Visibility,” The Wesleyan Argus, October 4, 2019.