THE NEW YORKER. May 22, 1995. Arlene Croce

"Gamonet's ballets are light, musical and well constructed. I went to Washington for Miami City Ballet's run at the Kennedy Center, which open with Gamonet's D Symphonies". This was a new cerebral Gamonet, one closer to Merce Cunningham... The movement for D Synphonies developed into sequences in which the isolated elements of ballet were reassembled as if in fun-huose mirrors. A big female corps behaves like a contingent of Bach Coppelias: they do robot turns, fall down flat on a single count, drum their pointes in place, snap their heads, and wigwag through the five positions with market stops in between... Gamonet fractures ballet syntax, ruptures ballet anatomy. The one thing he doesn't touch is Denby's ballet logic; the piece is impeccably architectonic (as bach might well be). The washington audiences loved the eccentricity of D Symphonies."