“More impressive was a series of solo performances last weekend. Atsushi Takenouchi, whose body was caked with clay, explored the natural world in “Kizamu.” Denise Fujiwara played a ravaged mother who loses her child in Natsu Nakajima’s “Sumida River.” Taketeru Kudo was a scraggly creature in “Go-Znrashi,” and Takuya lshide, performing “To a Wounded Bird Who Doesn’t Stop Pecking Me,” alternated jerky dance steps with movements at whiplash speed, made all the more haunting by his masklike face. Each solo was full of compelling moments, yet fault could be found in the presentation: cliched lighting, quite a few false endings and a cloying tendency to play to the audience. The rarity was Ko Murobushi, whose “Quick Silver” was full of piercing accuracy. With a prizefighter’s grace, he darted from spot to spot, collapsing backward onto the stage only to spring up in a mercuric flash.”
– Gia Kourlas, “When Packaging Radical Art, Be Careful Not To Damage The Contents”, The New York Times, 2007
