“If caa.reviews were performance.reviews?” Main Menu Introduction: “If caa.reviews were performance.reviews?” This jointly authored review of Boris Charmatz’s If Tate Modern Was Musée de la Danse? (2015) inaugurates a new initiative, spearheaded by the editorial board of caa.reviews, to review time-based media. The increasing prominence of dance, performance, video, film, and sound works in museum and gallery exhibitions gives caa.reviews an opportunity not simply to broaden the journal’s scope, but also to bring a range of diverse perspectives to bear on this growing phenomenon. By inviting scholars of dance to write this review, we hope to show how caa.reviews can become a forum for interdisciplinary dialogue on artworks and institutions of interest to members of distinct but related scholarly and creative communities. In the spirit of Charmatz, we ask, “what if caa.reviews were performance.reviews?” Unauthorized Performance in the Turbine Hall Museum Metaphysics: 20 Dancers for the XX Century and Dance’s Ontology in the Museum Adrénaline: A Dance Floor for Everyone and expo zéro Credits

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the way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).