My introduction to Christian Rizzo’s aesthetic was b.c, janvier 1545, Fontainebleau (On the Boards, 2010). In that work he offered an environment that, while decidedly performative—with dancer Julie Guilbert commanding the audience’s attention like a duchess—led viewers into a conceptual art state of mind. Many artists hope to blend performance and installation but not all can deliver a kinesthetic punch, the arc of a time-based experience and a persuasive visual place all at once. Rizzo can.