Continuity between steps is everything, it seems. This was Trisha Brown’s theorem, tested out on New York’s urban brickscape: that the flows we establish by walking on and within things are a frequently occluded but almost ecstatic form of engagement with the world.

In the fall of 1957, a young Carolee Schneemann hosted Leo Steinberg in a borrowed studio to discuss her paintings. Schneemann’s intellect and ambition were propelling her toward prominent critics; she’d hosted a rushed Parker Tyler a few weeks before.