13:I[2754,["2972","static/chunks/2972-6f5d56019c5c6a42.js","3868","static/chunks/app/tags/%5Bid%5D/page-e0de42c5bec059fc.js"],"default",1] 14:I[8387,["2972","static/chunks/2972-6f5d56019c5c6a42.js","3868","static/chunks/app/tags/%5Bid%5D/page-e0de42c5bec059fc.js"],"default",1] 16:I[2972,["2972","static/chunks/2972-6f5d56019c5c6a42.js","3868","static/chunks/app/tags/%5Bid%5D/page-e0de42c5bec059fc.js"],""] 15:T7fd,

Arlene Croce, one of the most influential dance critics of the 20th century and a founding voice of The New Yorker's dance coverage, passed away at 90. Known for her sharp wit, intellectual rigor, and uncompromising standards, Croce revolutionized dance criticism during her tenure at The New Yorker from 1973 to 1998.

Born in 1934, Croce began her journey in arts criticism by founding Ballet Review magazine in 1965. Her writing style combined deep historical knowledge with an ability to capture the essence of performance in precise, often cutting prose. She was particularly celebrated for her comprehensive coverage of choreographer George Balanchine and the New York City Ballet, helping to document and contextualize a crucial period in American dance history.

Throughout her career, Croce's reviews were distinguished by several key characteristics:

Unflinching honesty in her assessments
Deep technical knowledge of dance
Elegant, sophisticated prose
Ability to connect dance to broader cultural contexts

Her most controversial moment came in 1994 with her piece "Discussing the Undiscussable," where she refused to review Bill T. Jones's "Still/Here," sparking intense debate about the boundaries of criticism and art. This essay became a touchstone for discussions about the role of criticism in contemporary art.

Croce's influence extends beyond dance criticism. Her work helped establish dance writing as a serious form of cultural criticism, inspiring generations of arts journalists. Her collected writings, particularly "Going to the Danc

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