art in the museum context.” Big Dance sought to democratize the museum space, to “disrupt, awaken, dismantle, confuse and thus revivify the viewer's perception of art.” The audience wore headphones and toured the space in groups in groups of twenty, as the docent (Tymberly Canale) spoke about the art with a (“don't look at that,” she says at one point, “that's not part of the tour.”) The audience traveled from the Menil Collection's main building to Flavin's Untitled, 1996, described by Arts And Culture as “a kind of journey deeper into Tymberly's psyche as she worms her way into our own.” Movement and theater gradually begin to take over the piece, and ultimately, the audience became part of the performance. The piece was also performed at Mass MoCa- the Massachusetts Museum of Contemporary Art, in January 2016. Cage Shuffle (2017) Cage Shuffle made its world premiere at Abrons Arts Center during the American Realness Festival in 2016. In Cage Shuffle Paul Lazar speaks a series of one-minute stories by John Cage from his 1963 score Indeterminacy while simultaneously performing choreography by Annie-B Parson. The stories are spoken in a random order with no predetermined relationship to the dancing. Chance serves up its inevitable blend of strange and uncanny connections between text and movement. With live tape and digital collage scored and performed by composer Lea Bertucci. The piece was also performed at The Poets House in March 2017; David Bryne's: This Is How Music Works in June 2017; The Walker Art Center of Minneapolis in July 2017; A.P.E. Ltd. Gallery of Northampton in August 2017; Links Hall of Chicago in October 2017; DeBartolo Performing Arts Center of the University of Notre Dame, IN in October 2017 17c (2017) 17c is the newest Big Dance Theater ensemble work, built around the problematic 17th-century diaries of Samuel Pepys. Pepys danced, sang, strummed, shopped, strove, bullied and groped — and he recorded all of it in his diary, completely unfiltered. From his bunions, to his infidelities, to his perversions, to his meetings with the King, he needed to get his daily life down on paper, or he felt lost. A startling precursor to our own social media culture, Pepys possessed a similar compulsion to assign an almost constant real-time meaning to his daily existence, to examine himself, and obsessively report it." In her latest piece, Parson and her team incorporated the copious diaries