A review of “Charade,” created in 2006:

His Charade starts out very concretely with Bokær sitting on a chair facing the audience. He takes an apple from a handy music stand and solemnly eats it, including the core. Blackout. For his next act, with careful, controlled movements, he tilts and turns himself and an open Mac laptop into a variety of relationships (including placing it on his back in a position similar to one Cunningham once managed with a strapped-on chair.) These acts of digesting and gestating announce the ensuing amalgam of video and digital animation built on human movement.

Bokær shows us a human hand rotating on a human arm; when the black animated mannequin demonstrates the same gesture, his hand seems to turn completely, like the spinning head in The Exorcist. Whatever this unnerving figure can do looks reassuringly normal when performed by a live dancer. Bokær has skillfully organized and intercut images that present and re-present the human body. On camera, he dances with sensors attached to his body, a stage in the motion capture process that produced the limber black figure, a red stick figure, and a striding green (or was it blue?) homunculus with bulbous joints.

Deborah Jowitt in The Village Voice, October 30th, 2006