Last summer, in a now-famous letter to The New Yorker, choreographer Tere O’Connor complained that “critics do not know how to read dances…they don’t do the work of finding out what is actually going on in the minds of the artists or what are the contexts in which these works are created. They have reduced dance criticism to an explanatory, superficial, retelling of events.” So what should that complicated between dance critic and artist be?