As house lights dim, the skeletal frame of a car appears; gliding, it seems to drive itself from the wings towards center stage. Its welded steel form is partially clad in transparent plastic that cocoons fog rolling across the stage, at once evoking a bootleg greenhouse and the cybernetic endoskeleton of an assassin from The Terminator.

In Relapse, the penultimate number of Erin Cuevas’s Ouroboros, three dancers appear suspended within a field of projected digital images. Striped vertical lines mark each body. As they begin to glide up and down the thirty-six dancing poles installed in the Everson Museum of Art’s lower-level gallery, the lines contort, producing languid contour maps across the surface of each warped figure.