“Omaha Under the Radar” appears as a paradox: it invokes the figure of the artist as outsider (“under the radar”), yet claims the festival as our own—OU(T)R, “ourfestival.” It names the problem performers and audiences confront today. The fact that the music, dance, and performance art on the festivalʼs program appears under the radar is proof positive thereʼs something wrong with the radar. A hundred and fifty years ago it might have been enough to enjoy being the outsider,