Laura Dean's creative output in minimalist art spans interconnected work in dance, music, and drawing. Throughout the early 1970s, Dean represented her compositional structures as works on paper, which present an expanded visualization of her artistic experimentation with color, symmetry, repetition, and form. Dean rejects the reconstruction of her performance works, instead she advances a notion of dances as impermanent. Situating Dean in the context of serial and conceptual art in which the material art object is deemphasized in favor of communicating compositional logic, I argue that Dean presents a choreographic legacy premised on the intentional disappearance of her work in favor of perpetuating ideation and concept.
