You may have heard buzz about the development of The Shed—a mammoth of a contemporary performance space being built on the Hudson Yards, visible from the end of the High Line—which is speeding along by city construction standards in time for its 2019 opening. The Shed’s austere glass-and-steel beam architecture boasts a fully mobile cover that perplexingly unsheaths itself like a turtle from its shell.

The pursuit of an original use for space in a dance work often seems a fraught subject for the choreographer, perhaps under the increasing pressure to challenge the conventions of audience-performer relationships.

Like many too young to have seen Tanztheater Wuppertal in New York when Pina Bausch was still alive, my first experience was through the film Pina (2011), a phenomenal way to grasp how and where a Bausch work will hit you: like a wrecking ball to the gut.