Running from our own LEIMAY explorations of Judson-era strategies and movements at the New Museum to Klaus Biesenbach shutting down Ann Liv Young's performance inside of his own Performance Dome that he invited her to, museums have taken a fond liking to dance as a form.  However, questions remain.  

Is curatorial practice in museums fit to host time-based arts?

Are we, as performing artists, to adapt our practice for the new stage (or non-stage) and develop a new technique for ephemeral engagement?

What does it mean that museums have started to not only buy ephemera connected to performances, but also the rights to the performances themselves?

What are the new economies that have begun forming around this new practice?

Which one is more unregulated, the art market or the free market?