the end of the text. The spare, often stark simplicity of the photography suggests that Alexander had understood the tension between the singularity of the dancer's body and its sometimes violent, sometimes playful interaction with other bodies and objects. The choreographers and dancers he photographed for the book and for other publications had inherited a strong dance vocabulary from the avant-garde performers and choreographers of the fifties and sixties, but they were constantly seeking to break free of some of the constraints imposed upon modern dance by that vocabulary. These attempts to redefine movement and dance are perhaps best exemplified by the development of Contact Improvisation, with its mixture of randomness, spontaneity, and carefully focused give and take between dancers. Alexander frequently photographed Steve Paxton, who was instrumental in the development of this form, as well as the other choreographers and dancers of the collaborative group Grand Union. His photographs of them are of performers who seem at times restrained and poised and at times utterly abandoned to movement and to contact with other dancers. His strongest street photographs share this quality with his dance pictures. He seems drawn to the vulnerability of bodies in a dynamic environment, and his work conveys something of the dancer's desire both to control spaces and to be abandoned to them. Famous subjects While Alexander did not achieve the broad recognition of some of his contemporaries such as Peter Moore, his work is an important contribution to the documentation of experimental dance and performance of the seventies and eighties. He photographed most of the major experimental choreographers, dancers, and performers of the period, including Stuart Sherman, Kenneth King, Simone Forti, David Gordon, Valda Setterfield, Laura Foreman, Carter Frank, Yvonne Rainer, Steve Paxton, Douglass Dunn, Rudy Perez, Meredith Monk, Trisha Brown, Lucinda Childs and many others. He also photographed musicians and actors, such as the then emerging Tom Waits and the already famous Peter Ustinov. By the mid-eighties Alexander was doing less and less dance photography and more photography of the city. The collection includes thousands of slides of Manhattan dating from this period, many of which reveal Alexander's interest in ordinary street scenes and people. Most, however, are of the city's skyline and monolithic architecture, testifying to the photographer's obsession with the city that he lived in all of his life and which he left only briefly as a young man. Alexander died on