While this attention can be felt throughout all parts of “Let ’im Move You,” the work itself is not exceedingly precious. In a form that prizes precision and unison, the artists experiment with ceding control, making room for spontaneity, imperfection, the freedom to fall apart. They pose weighty questions with a light touch: How do you translate a practice developed in stadiums and nightclubs into a black box theater or a public park? What does it mean to present a queer black form before contemporary dance audiences, who tend to be mostly white?

The first two parts of the series — “This Is a Success” and “A Study,” which were presented at Abrons in 2018 and returned to BAAD! on Oct. 4 — address that second question head-on. “We brought a whole lot of black people with us,” Mr. Poe said in his warm introduction, as a constellation of digital viewers popped up on the wall behind him. “In case you’re wondering if something is funny,” he added. “Or if you’re just in need of a black friend and yours isn’t here.”

Whose space is this? Who is this work for? Those questions arose again in “Intervention,” a procession through the Lower East Side on Wednesday. Wherever “Let ’im Move You” goes, it brings this free outdoor component, a kind of roving rejoinder to the insularity of the theater.

Like “Success,” “Study” and “Formation,” “Intervention” plays with the call-and-response structure of J-Sette, in which a leader demonstrates phrases for others to follow. In bright pink knee-high socks paired with wintry layers, seven dancers (later joined by a small cohort of local high school students), staked out entire blocks, signaling to one another with swiping arms, arching backs and winding hips, then suddenly sprinting to a new location. They seemed to be tossing and catching complex rhythmic messages, at once cryptic (to an outsider) and absorbing.