The first part of the piece was a durational, immersive performance where Rad was part of the staff at Abrons Arts Center.
Rad worked as an usher and stage crew. They did all of the change overs between performances. The viewers believed Rad to be a staff member.
Rad was last to perform. After working for 2 hours and finishing sweeping, they taped up a gold piece of fabric in which to express themselves in front of.
Rad removed their work clothes and remained in a dance leotard. The performers were allowed 5 minutes to perform. Rad had 1 minute and 30 seconds left after the sweeping.
Rad moved between the rigid classical ballet that conditioned them in their youth, traditional Afro- Indigenous Brazilian moves where they found healing and history, and contemporary queer club dancing in which they find a sense of home today.
As the end of Elza Soares' "Woman at the End of the World" approached Rad grew emotional, empowered, passionate and frenzied. Jumping between moments of rigorous athletic wildness and strict classical moves that confined them.
Ultimately the piece asks "Who gets to be an Artist? Who gets to make work? Who gets to show their work? What does it mean to be a working class Artist of color in NYC? How does physical labor under capitalism and white aesthetics in Art making keep Artists of color and working class Artists from being/making free?
In Part II the audience was invited to take part in the The (Im)Migrant Hustle dance line, inspired by Soul Train. Each person was invited to contribute a dance move that represented their family's relationship with migration, whether by choice/ force/ necessity or indigeniety, and finding "respectability" in the USA.