«Twenty Looks or Paris is Burning at The Judson Church» takes a new critical position on postmodern dance aesthetics emanating from the Judson Church period. By developing his own work as an imaginary meeting between the aesthetics of Judson and those of a parallel historical tradition, that of voguing, Trajal Harrell re-writes the minimalism and neutrality of postmodern dance with a new set of signs. Rather than illustrating a historical fiction, these new works transplant this proposition into a contemporary context. What we experience was neither possible at The Balls nor at Judson. In the construction of an imagined audience, that of a 1963 Judson Church Dance Theater audience, in the minds of a real audience today, or put in another way, in the distance between who we imagine a work is being performed for and its actual performance for those present, what kind of new relations can be created, adapted, and reassigned between performer(s) and audience?