Danspace Project, in New York's historic St. Mark's Church in-the-Bowery, has been supporting a diverse range of choreographers for over 45 years. In 2010, Judy Hussie-Taylor, its executive director and chief curator, initiated Platforms, multiweek performances that Danspace calls "exhibitions that unfold over time." The latest, "The Dream of the Audience," features newly commissioned works by Ishmael Houston-Jones ; Okwui Okpokwasili; Eiko Otake and Joan Jonas, who is well known as a video and performance artist; and Reggie Wilson. These choreographers, each a previous Platform participant, were chosen pre-pandemic by Ms. Hussie-Taylor, only to find themselves, due to the Covid-19 lockdown, later challenged by her "to respond to this precarious moment with distant audiences and empty spaces." Each of the four works evolved mostly during the colder months, under careful Covid protocols, in the church's space and had one-time premieres on Zoom in late May and early June. They are now set for streaming during July and August at danspaceproject.org/journal; the website also includes archived pre-Covid Danspace activities from the five commissioned Platform choreographers. At a little under 28 minutes (the longest 2021 work), "With the Earth at My Waistline," by Ms. Otake and Ms. Jonas, plays out as the richest and most poetic of the films. Its marvelously layered visual impact unfolds as the two women, occasionally joined by Iris McCloughan and Ms. Jonas's pet poodle, come and go, sometimes as if emerging from projected video footage by Ms. Jonas that features striking outdoor sites in Nova Scotia. In an atmosphere alternately dreamlike and matter-of-fact, "With the Earth" reveals its two main characters, white-haired Ms. Jonas and black-haired Ms. Otake, moving independently, sometimes in eerie coordination with themselves on film. They take up and manipulate select objects, chosen by Ms. Jonas, while passing through a world of expansive projections and specially set areas of the church, all worlds of their own. Having journeyed with these women only once during their film's premiere, I feel confident that doing so again in July and August will hold further fascinations. At about 11 minutes, Reggie Wilson's "Come and Go 'Piece a 'Way"—a jaunty foray for Mr. Wilson as choreographer with crisp cinematography and editing by Aitor Mendilibar—provides a succinct introduction to Danspace Project's physical plant.