The concept of traces first appeared in relation to Herko’s excess, or surplus. He can almost be traced through history and memories because of his association with costumes and dramatics. Munoz notes that “Herko’s camp theatrics are always mentioned when he is included in the history of postmodern dance” (150). Although he is often not included (see: “read outside of official documentation”), when he is, it is at stark contrast with the minimalist fashion of his time. His life, death, and art are all notable for their “expressive exuberance,” which is also a through-line for his relation to other notable artists.