In “Nothing: more,” Autumn Knight and her collaborators and co-choreographers Kayla Farrish, Dominica Greene, and Jasmine Hearn let their imaginations roam in an interactive set that evokes an empty, after-hours gallery. With object design by Matt Shalzi, sawhorses, ladders, a Gatorade jug, a disco ball, and canvas stretchers create fodder for the busy scores of the performers. ?e trio attaches and detaches themselves from tasks of building and deconstructing barriers, winding and unfurling cords and rolls of paper and plastic, while also kicking soccer balls, harmonizing their voices, and changing their costumes. They proceed to follow unknown rules for a game that might be titled: Make the Most Noise You Can with
These Everyday Objects That Are Completely Foreign to You. The e?ect is chaotic but somehow a delicate balance is struck, with Knight as chief obstructor, cutting in on the simultaneous actions with humorous questions and directions that seem to change the layers of their trajectories; Farrish and Greene err on the side of zany and extroverted while Hearn is more introspective.

Near the end they arrange themselves behind a frame, itself set within a frame, for a group portrait. (For much of the piece, a photographer also roams the stage at the direction of Knight.) They preen or make funny facial expressions but for this one moment they gather in a legible composition. When the spell breaks, a performer climbs through it and eventually the frame is broken too. But as the trio tears up the stage in the last five minutes—pulling, running, dumping various gathered piles of objects from a cart—their destructive urgency brings each performer into their own unique and ephemeral power.

Candice Thompson for Fjord, January 2026