In ‘Tape,’ Performers Move Fluidly and Whimsically About a Grid begins by discussing the performance’s titular motif, comparing the use of tape on the ground to crafters who put tape on a Ziploc bag and call it “a dazzling neon zebra pouch”. This unfavorable comparison gives way to complaints about distractions like the tape grid and the costume designs, punctuated with the seemingly-sarcastic interjection “Ah, whimsy!”. As Oliver states, the backbone of dance criticism is description of the performance, and Kourlas brings in details to give an overview of “Tape” and support her thesis that the performance is a non-cohesive mess. Though short, the review gets its point across adequately.