This article situates choreography within topical debates on post-privacy, critically interrogating a trend toward the exposure of intimate life and sexuality in performance. A scene from Pina Bausch’s Window Washer (1997), shedding light on domestic violence and the sexualized female body, is related to the feminist assertion that “the personal is political.” Michael Parmenter’s A Long Undressing (1995), a piece about the artist’s identity as a gay man, catalyzes discussions of the closet, individual authenticity, and queer identity politics. I assess the two works’ contributions to discourses on the private-public distinction, drawing on a range of contrasting perspectives from philosophical, sociological, and political fields. © 2020, Taylor & Francis Group, LLC. The attached document (embargoed until 04/09/2021) is an author produced version of a paper published in DANCE CHRONICLE uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at the link. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.