This paper maps Isadora Duncan’s navigation of public and private venues, audiences, and receptions of “Greek” dances from her early career in Paris. I explore Duncan’s relationship with Paris’ lesbian communities and the proliferation of ancient Greek dance in both private and public venues. Through comparisons to her contemporaries I contend that Duncan was aware of her early audiences’ interest in exotic and erotic representations of antiquity, and that she realigned these aspects of her art in later writings to appeal to changing aesthetics and interpretations of antiquity.