As its name implies, the New Moves dance company employs motion in a non-traditional context. In the work of choreographers Tish Carter and Nancy Galeota, movement tends to be an incidental accompaniment to other theatrical concerns. For Carter, the attention is chiefly on the visual arts, including the integration of sculpture and other objects; for Galeota, the concern is with language and voice. The company's members are also of the non-garden variety. This weekend's performance at the Dance Place included a photographer, a surgeon, a psychiatrist and a 1981 Dodge.

New Moves choreography is structured along conceptualist lines. Including works exploring deconstruction, audience perception and the poetic reverberations of everyday objects and sounds, this concert was thematically unified by wit. Both Carter and Galeota brought an irreverent attitude to all these high art concerns, much in the manner of David Gordon, the clever post-modern choreographer.

Galeota's "Motor Series: From Here to There" finds three observers discussing a dance a la the Marshall McLuhan scene in "Annie Hall." Each observer "sees" the movement from his own perspective: either as a purely physical sequence, as a fantastic sociological interpretation or as technical movement analysis. In this clever exegesis, perception is seen to play havoc with the notion of choreographic intent.

Carter's "Springtime in Acapulco" extends the idea of perception to include word associations. "Springtime" is both a vernal trip to Mexico and a rollick with metal coils, with this double message echoing and intertwining. Accompaniment ranges from verbal descriptions of seasonal warmth to omnipresent metallic clinks. The two notions of spring are joined as two spring-green springs are placed in a spotlight at stage center.