"One interesting thing about White Oak is that, by staging dances that have been out of repertory for years, it allows us to measure their influence. Did Judson leave a mark? Yes, and you can find it all over downtown. Randomness, casualness, simultaneity, "found" movement, all the techniques that the sixties avant-garde adapted, basically from John Cage - you can see them in the new choreography."
Joan Acocella, The New Yorker, 2000
"This compact, ad hoc touring group brings often difficult modern and post-modern works out of their relative obscurity to a broad audience lured by Baryshnikov's genius for movement...For his group's recent engagement at BAM - easily the most compelling event of the season - Baryshnikov commissioned a piece from the nay-saying Yvonne Rainer, who had left the dance world a quarter-century ago to make films."
Tobi Tobias, New York Magazine, 2000
"Audiences that like having fun and watching movement for its own sake should head for...White Oak Dance Project...There were no plots, no deeper meanings - and none intended."
Mary Campbell, Associated Press, 2000
"...his groundbreaking White Oak Dance Project has evolved, season by season...Baryshnikov has increasingly looked beyond music visualization - absorbing the range of modern dance expression toward the deepest, most daring frontiers of his art."
Lewis Segal, The Los Angeles Times, 1997
"And what's remarkable...is that although decades have passed and the insights and innovations of post-modern dance have been assimilated, this work still looks contemporary, original and, yes, challenging...Just as it was meant to."
Sylviane Gold, New York Newsday, 2000
"To watch White Oakers walk and run and dodge and advance, wobbly-kneed, in a herd doesn't elicit "Is this dance?" uneasiness; we like it for what it is....Offering radicalism as if sure that audiences will like it - what a brave concept White Oak has sprouted!"
Deborah Jowitt, The Village Voice, 2000
"This is one of the finest evenings of contemporary work that he has put together."
Robert Johnson, Newark Star-Ledger, 2000
"He is presenting odd, hot, dreamy little pieces, and he is placing them a few feet from the audience's face. There they will succeed or fail, but in either case they will look specific, concrete - somebody's best shot, or just somebody's shot, which is what live performance should be."
Joan Acocella, The New Yorker, 1999