Moriah Evans positions choreography as an expansive social process. Drawing on somatic choreographic practices and feminist critiques of dance and visual culture, her work expands dance beyond the visible, to explore different ways of sensing both ourselves and our relationships to one another. Evans develops movement from the unseen interior of the body, by activating the emotional, somatic, and sensory systems to question the default hierarchies between notions of flesh, body, self, and subject.For Evans, choreography is a social political project that means far more than arranging bodies and movement in space; it is a serious and wide-ranging exploration of ideological beliefs–including feminist, sociological, and anthropological considerations. In Evans’ practice, one work leads to the next, each project forming a chapter in her ongoing process to inspire transformation–both physically and psychosocially–through action.

Evans creates site-specific performances, theater-based productions, gallery and museum-based participatory installations, symposiums, theoretical texts, and curatorial projects. Recent works include: HARBORing (Snug Harbor Cultural Center and Botanic Garden, NY, 2025); BANKing (Musikinstallationen, Nuremberg, Germany, 2025); The Wait (New York Choreographic Institute, New York City Ballet, NY, 2024) Remains Persist (MOCA LA, CA, 2023; Performance Space New York, NY, 2022); Out of and Into: PLOT (Museion, Bolzano/Bozen, Italy, 2023); Rehearsals for Rehearsal (Public Art Fund, NY, 2022); RESTOS (Espacio Odeón, Bogotá, Colombia, 2021); REPOSE (Beach Sessions, NY, 2021); Be my Muse (Art Encounters Biennial, Timisoara, Romania, 2025; Pace Live, NY, 2021; Hirshhorn Museum, Washington DC, 2018; Villa Empain, 2016); BASTARDS: We are all Illegitimate Children (NYU Skirball, NY, 2019); Configure (The Kitchen, NY 2018); Figuring (Sculpture Center, NY, 2018).