PAUL TAYLOR DANCE COMPANY Review by Celia Ipiotis Sandwiched between two major Taylor works, Lovette's Pentimento to a score by the classical Argentine composer Alberto Ginastera excels in the ease with which the dancers embody the movement. Like Taylor, Lovett dispenses with over-wrought choreography, and instead aspires towards a cleaner palette. In fact, it makes sense to import a NYC Ballet dancer turned choreographer, because Paul Taylor actually appeared as a guest artist with NYC Ballet from 1959-1960. Although retired from NYCB, Lovett remains an eloquent performer and her embodied experiences translate seamlessly to her interpreters. Effectively locating dancers' comfort zones, Lovett forms highly organic choreography filled with spatial clarity. In this instance, Lovett imbued herself in the Taylor athletic style -- one that pulls dancers to the ground rather than into the heavens....