Above: Simone Forti leading her "Huddle" score for the 2014 Bridge Project, Have We Come a Long Way, Baby?.

"Ordinary Practices of the Radical Body will go down in my personal history as the greatest lec-dem of all time. Picture it: two queer icons alone together on the dance floor, step-touching their way through theories of gender, embodied identity, and precarity. Their dancing demonstrated that the philosopher has a body and the dancer has a mind—in other words, everyone is a bodymind—and the toll dancing and scholarly labor takes on the body was made visible by their talk about it."
-Sima Belmar, In Practice: Body Nerds: Judith Butler and Monique Jenkinson, In Dance, January 1, 2018 (reviewing the 2017 Bridge Project)

"The Bridge Project reimagines and even celebrates conversation as a form that brings us body to body."
-- Maxe Crandall and Selby Schwartz, Movement Research, December 14, 2017 (reviewing the 2017 Bridge Project, Radical Movements: Gender and Politics in Performance)

"The evening served up an accessible and stimulating blend of sophisticated queer theory and radical politics alongside personal anecdote and a modest but sincere lovefest across the disciplinary divide...There was an unspoken but palpable sense of disorientation, along with the slightly giddy wonder at what might happen, when two mutually admiring representatives of two mutually exclusive worlds (art and academe, for short) let their respective guards down." 
-- Robert Avila, "A philosopher and a drag queen meet on a dance floor...", 48 Hills, December 7, 2017 (reviewing the 2017 Bridge Project)

"For several years Hope Mohr's Bridge Project has connected history and the present moment, art and intellectual probing."
-- "His/Her/Their Moves", Dance Magazine, November, 2017

"The space they occupied transcended the theater stage to become the larger political sphere..."
-- Marie Tollon, "A Gender Theorist and a Drag Performer Walk into a Theater",  ODC Dance Stories, November 15, 2017

"This year’s festival in particular is meant to unite artists, activists, and academics around the issue of gender equality — inviting performers to explore what it means to have a radical body through their respective mediums. And, with a program that features academics and performance groups, this year’s bridge Project makes that goal a reality. "
-- Eda Yu, "An Academic and a Drag Performer Dialogue Through Dance", KQED Arts, November 9, 2017

"Hope Mohr is perennially inquisitive. The intellectual curiosity evident in her choreography extends to the intriguing, post-modern dance experiments she orchestrates each year under the imprint of the Bridge Project."
-- Carla Escoda, "Fall Dance Season Will Bring Political Fury to Bay Area Stages"KQED Arts, August 22, 2017

“Rather than creating a bridge that reinforced the distinctions between disciplines, the Bridge Project offered a view of an inclusive community—one in which complementary, rather than disparate, pursuits benefited each other and those in attendance.”
--Joe Ferguson, "Science, Philosophy and Performance Art in 'The [2015] Bridge Project,'"  SciArt in America, Dec. 28, 2015

"Choreographer/dancer Hope Mohr wants us to know more than what we see on stage. Her “Bridge Project,” now in its 7th year, is an artist’s-curated initiative that opens the thinking processes that go into creation of work. She challenges the assumptions we may bring to the theater; calling what she does 'a form of community organizing, to facilitate conversation that cross discipline, geography and perspective.'”
--Rita Felciano, "Hope Mohr's Bridge Project," KQED Arts' "The Do List," November 6, 2015

"[HMD's Bridge Project] is inviting excellent, but locally little known choreographers to share the stage with her company...These [a]re intelligent and excellent evenings of dance. The Bay Area owes her."
--Rita Felciano, " Dance View Times, Vol. 31, No.4, Autumn 2014

“On Lucinda Childs’ Carnation, I propose this work for an Izzy: best reconstruction of 2014”
--Keith Hennessy, Zeroperformance.blogspot (on HMD's 2014 Bridge Project)

“Hope Mohr asks us to … pursue the thrill of live performance, of improvisation and movement that constantly questions its source.”
-- Carla Escoda, "Have We Come a Long Way Baby?", bachtrack, Sept. 29, 2014

“[A] phenomenal celebration of West Coast post-modern dance, bringing together four powerhouse choreographers in a single program.”
-- Heather Desaulniers, "The Bridge Project 2014," heatherdance.com, September 28, 2014

“The rise of curatorial activity also goes hand in hand with the rise of collaboration as the dominant mode of making.”
-- Hope Mohr, in conversation with Marie Tollon, "Four Postmodern Solos in Conversation," tripledogdare,  Sept. 22, 2014

“[The Bridge Project] annually recruits the prime movers of American Postmodernism.”
-- Alan Ulrich, "Fall Arts Preview," S.F. Chronicle, August 15, 2014

Profile of HMD’s Bridge Project.
“Vital Signs,” Dance Magazine, March 2012.