One of Balanchine's seminal leotard ballets, "Agon" looks as experimental as ever.

The frank allusions to Balanchine's leotard ballets become a springboard for the imagination, for both the choreographer and the audience.

Since then "The Four Temperaments" has been considered the granddaddy of Balanchine's avant-garde "leotard" ballets to modern music.

There is a dynamic sense of the kind one sees in Balanchine's "leotard" ballets to contemporary composers, especially Stravinsky.

Good examples of Balanchine's "leotard" ballets, the two are comparatively astringent, all angles and oddly clear entanglements.

Because virtually all the works are black-and-white leotard ballets, the week has been packaged as "Balanchine Black and White Celebration."

A change of pace is the invasion of men and women in black, an energetic ensemble that alludes to Balanchine's experimental leotard ballets.

Essentially, these changes do not alter the overall look of this most concentrated of Balanchine's "leotard" ballets to modern music.

From the moment the curtain rose on Thursday night, it was clear that "Polyphonia" would allude to Balanchine's "leotard ballets."

In all, still the most startling of Balanchine's experimental leotard ballets.