Like the dress code, her choreography — for herself, two backup vocalists, six musicians and a core group of eight dancers — had an orderliness, anchored by simple geometric formations that echoed Julia Heymans’s set of spherical and rectangular sculptures. Drawing our attention to the height and circularity of the space, a 13-member horn ensemble popped up on two levels of the museum’s spiral ramp, joined later by the dancers and 32 additional performers in a snaking descent toward the rotunda for a voluminous final section.
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