[1] Fellow dance critic John Martin, one of Lloyd's few contemporaries, praised the book for its "scope and authority" while also highlighting a number of small factual errors.
Lloyd's final piece was her review of the Roberto Iglesias ballet company at Boston's Symphony Hall for The Monitor, published after her death.
[6]: 37 Conner places Henry Taylor Parker and Carl Van Vechten as the first notable critics of American-produced dance, with their coverage from the 1910s focusing on the developing field of American ballet.
[9] Concurringly, her biographer and peer Doris Hering argues that "In [an] era when writings about dancers tended to treat them as exotic creatures, Lloyd's pragmatic view of her subjects as social beings was a major contribution to the field.
In her coverage of the ADF, beginning in the mid-1950s, Lloyd argued that the festival had become too stylistically unified around the techniques of José Limón and Doris Humphrey, instead of providing variety.
"[12] Susan Manning concurred on Lloyd's views on liberalism, arguing that Lloyd's chronology in The Borzoi Book of Modern Dance primarily attributed the success of modern dance to "American ideals of freedom and democracy," which Manning believes "echoed the emerging rhetoric of Cold War liberalism.
"[13]: 207 Lloyd detailed her opinions on dance criticism in her correspondence with Lewiston Evening Journal journalist Charlotte Michaud in the late 1930s.
In one letter written in 1938, Lloyd argued that dance critics should be journalists and not dancers, to maintain a broader view of the field and insulate their coverage from the influence of jealousy.