“One of the great challenges faced by the present curators is the way Graham’s work changed over the decades. Schooled in the show-biz exotica that was Denishawn, she launched her own career with stark abstractions, moved through patriotic flourish and nostalgic romance, ensconced herself in Greek tragedy, and slid into histrionic decadence during her last years. The technique developed, grew harsh, grew soft; costumes and sets were remade; music was recorded, amplified, scaled down. What we see as Graham repertory today is a composite vision drawn from co-artistic directors Terese Capucilli and Christine Dakin, the exemplars who survive from earlier generations, and a contemporary sensibility suited to today’s dancers and audiences.”