Four women stand in a light-flooded room, barefoot and dressed in simple black. The youngest is in her early thirties, the oldest in her early seventies. A metronome is turned on to an eager 120 beats per minute. One of the dancers counts in Hebrew softly, “Achat, shtaim, shalosh, arba,” as they start moving in perfect synchronicity and balance. One wrong move and they all stop and start over. The metronome never stops ticking. Located in Vienna’s second district, and in the oldest Baroque gardens in the city, a spacious four-room exhibition space with sloping north windows serves as Thyssen-Bornemisza Art Contemporary’s gussy new venue. Here, its second show is dedicated to Sharon Lockhart (born 1964) who, in turn, made her subject the vast legacy of work left behind by Israeli dance composer Noa Eshkol (1924–2007). A few months after Eshkol’s death, during a trip to Israel in 2008, Lockhart stumbled upon a time capsule of work that the dancer left in Holon, a suburb of Tel Aviv. From the mid-1950s until her death in 2007, this was the place where she created and practiced the Eshkol-Wachman Movement Notation system (EWMN) together with architect Avraham Wachman (1931–2010). As a former student …