Midway through "Rosas danst Rosas" a man behind me whispered to his companion, "This is not dancing."

I wanted to respond, "Only dancers could pull this off!" Created in 1983, the Bessie award-winning work by Anne Teresa De Keersmaeker (presented by Walker Art Center and Northrop) demands a high level of commitment from performers and audience alike. It is the finest example of beauty within rigor and repetition. And yes, it is dancing, the most virtuosic kind.

On Wednesday evening the choreographer herself performed with Tale Dolven, Cynthia Loemij and Sue-Yeon Youn. (Sandra Ortega Bejarano will take over for De Keersmaeker on Thursday and Friday.) Just 24 years old when "Rosas danst Rosas" premiered in Brussels, De Keersmaeker still has much to share 30 years later. It is fascinating to witness how the work continues to challenge her artistry — the subtleties are seemingly endless. This is the sort of creation one refines over the course of a lifetime.

Time flies while viewing this nearly two-hour quartet — no moment is wasted over its five parts. Set to vibrant minimalist scores by Thierry De Mey and Peter Vermeersch, the work begins with all four dancers lying on the floor in restless repose, moving in a direct yet economic manner. They shift their arms and heads or roll their bodies, using deliberate slowness during some moments and then switching to a sharp attack in others. The dancers' shared language relies on breath to the point where they become a single entity.

The movement builds — sitting on chairs, the dancers slump, flip back their hair, cross their legs and then do it over again and again. On occasion they catch one another's eye and slyly smile. Sometimes a dancer faces the audience directly and pulls her shirt down over one shoulder — a gesture that evolves from flirtation to defiance to fear. There are also increasingly complex patterns that travel horizontally and on the diagonal.

"Rosas danst Rosas" is a feminist work that only increases in significance over time. The women performing it are single-minded in the best possible manner — strong, committed and fearless. And while it is true that Beyoncé borrowed some sections for her "Countdown" video, her homage only hints at the power of the real thing.

Caroline Palmer writes about dance.