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At City Center where the New York premiere of Khan’s 85-minute work took place, the stage resembled an airport, and the dancers did what is generally done in departure lounges. They looked up at an electronic monitor and played with their electronic gadgets. “Please Wait. Delayed. Flight Cancelled. Water. Air. Sky. Earth. Home,” the digital monitor typically and mysteriously displayed through the course of the evening in block lettering, which in numbers and words whirred like a roll of a dice before a meaning congealed, and a dance section commenced.

In bahok, there were moments of glee and genius. There were also some deadly boring sections, where the dancers spoke about being lost, which were punctuated by audience members leaving their seats for the street. In a duet, which occurring during the monitor’s display of “Delayed,” Andrej Petrovic became the bed rest of choice for Wang Yitong’s total exhaustion. Like a piece of cotton candy, Yitong stuck to Petrovic. She arched her pliant frame against his chest and floated her lips against his to his alarm and then excitement. No matter how hard he tried to extricate himself from her enveloping legs, which wrapped around his pelvis and neck, he couldn’t shake her. The well-known experience of having a seat mate who doesn’t observe the rules of personal space was taken to a fantastic extreme when under a spotlight, Petrovic and Yitong merged into one creature: half deity, half human, a vision both spiritual and sexual, expertly entwined like a karma sutra statue come to life.

As for moments of high-speed, aerodynamic, volcanic, physical genius, Kim Young Jin and Eulalia Ayguade Farro’s solos took care of that. Farro, who also served as the work’s central narrator, repeatedly throttled her small frame from somersault to headstand to backward run like she was sprinting toward a departure gate to catch the closing door of a Boeing 747. She also intoned the work’s central theme “I don’t even know where home is.” Jin’s ability to draw perfect circles, horizontal lines and exclamation points with his long, articulate limbs revealed that great dancers are like painters. They make you see what isn’t there.

But for all the beauty and ingenuity Khan’s dancers created, bahok didn’t offer any resolution or meaningful statement about feeling homeless in a technologically interconnected world marked by constant traveling. Nor did the dancing, which borrowed from gymnastics, ballet, Tanztheater, improvisation and release techniques, forge its own style. The weakest moments came with the group dancing, where unison, frontal-faced movement prevailed, revealing that Khan has a ways to go as a choreographer of large-scale works. The energy and interest during these sections resided with composer Nitin Sawhney’s international selection of beats. They transformed the departure lounge into a discotheque, featuring danceable sounds from around the globe and giving these stupendous dancers the opportunity to streak the stage with their virtuosity like a jet piercing the sky.