A performance for one or more dancers, Errant playfully disfigures the codes of public behaviour. The museum, ostensibly a beacon for creativity and experimentation, holds a strikingly narrow range of acceptable ways to be: you can stand looking at a piece of art, or you can sit on a bench looking at a piece of art, and that’s about it. Within this heavily guarded milieu, Errant introduces a body-at-odds—one that, through movement, gently probes the confines of the permissible. Working with a sensual responsiveness to a museum’s many spaces, Errant is driven by an improvisational practice that attempts to harness the work of paying attention as choreographic material in itself. How might our attention—and thus our body—inhabit the current moment, if the pressure to align with social definitions of coherent existence were released? The performers run, writhe, and crawl throughout the entire expanse of the museum: the gift shop, the lobby, the gallery, the common spaces.