made me interested in dance, but it also made me feel torn between different things – technique, working outside the dance vocabulary, using objects and texts.” Style “As one of America's leading modern dance choreographers, she makes work which can often be described as conceptual dance.” While her minimalist movements were simple, the beauty in her choreography lay in her spatial exploration. Her work captivates the splendor of the different patterns the human body can create across a stage by basic repeated movements such as skipping or turning. She would create an entire performance piece based on one simple combination that would be repeated numerous times but in a different way. Whether she takes apart and reorders the combination or simply reverses it the same movements would not be repeated as they were initially introduced. Often, pieces she choreographed, such as Street Dance (1964), were accompanied by a monologue that would explain not only her movements but what it's about. In a 2018 interview conducted by Rachel F. Elson of Dance Magazine, Childs states that she is “responding to the music” when she choreographs. She will listen to the music then think about all the different sequences, trying to figure out “where there could be musical transitions that we abide by, and where there are ones we don't abide by”. Childs also mentioned, in Speaking of Dance: Twelve Contemporary Choreographers on Their Craft (2004), that the works of Jackson Pollock, Barnett Newman, Mark Rothko, Jasper Johns, and Robert Rauschenberg influenced her works. When she began her Company in 1973, Childs was interested in “creating dances with simple, geometrical spatial patterns”. As such, her exploration of this topic lead to Childs creating a diagrammatical score that noted each dancer’s path. Street Dance In Street Dance (1964), Childs created her stage on a street in Manhattan where her audience was the occupants of a nearby loft. The six-minute dance was based on its surroundings and the performers blended in with what was occurring on the street. Every so often they would point out different details about the appearance of the buildings and the assorted window displays. Although the audience was not completely able to see what exactly the performers were pointing to, they could hear the explanation from a nearby audio tape. Childs discusses the performance stating that “the result was that the spectator was called upon to envision information that existed