Carlos Reyes, Luciana Achugar: danza uruguaya del primer mudo in El Pais, December 2009

Deborah Jowitt on The Sublime is Us in the Village Voice, July 28, 2009

luciana achugar quoted in DWeb La Repubblica dell Donne,January 2009

"Changes to the way we see dance, to the way we think about it, come in small increments. “The Sublime is Us” is one."
Roslyn Sulcas, The New York Times, October 24, 2008

"Ms. Achugar's sensual, raw and intensely physical work often elicits strong reactions."
Claudia LaRocco, The New York Times, October 26, 2008

"...a Busby Berkeley dream in the flesh."
Elizabeth Zimmer, Metro New York, October 23, 2008.

"Achugar's strength as a choreographer is her ability to match ideas with movement."
Brian McCormick, The Gay City News, October 23, 2008.

"…The Sublime Is Us challenges us with a sometimes primal physicality, while containing it in a carefully organized structure… As the piece ends, a woman in the audience checks the mirror and fixes her hair. What could be more natural, given the smoke-and-mirrors atmosphere of today's political atmosphere?"
Deborah Jowitt, The Village Voice, October 31, 2008.

“Achugar’s refreshingly clear “Franny & Zooey”…simultaneously bold and introspective…speaks volumes for creative freedom...”
Lori Ortiz, Gay City News, February 2008.

“…[one] of the year’s smartest works, Luciana Achugar’s 'Franny and Zooey'…”
Claudia La Rocco, The New York Times, December 2007.

"I wanted to lay my hands on her, to gather all her sweaty roving parts and collect them safely into a cohesive whole but I dared not interrupt this mysterious dance for it was something bigger than my own desire...”
Victoria Anderson Davies, The Drama Review

“Bravest, slyest parody. …pushed to the limit downtown dance’s current yen for the simple and sloppy. The result was a hilarious and surprising work about the exhausting ritual of modern dance.”
Apollinaire Scherr, Newsday, December 2006

“…thought-provoking…powerful and expressive dancers…empowers the audience… blows open the issue of objectification…shrinks the space between performer and watcher until it disappears entirely.”
Deborah Jowitt, The Village Voice, November 2006.

“I wonder if it will get reviews adequate to its self-effacing brilliance, its slovenly smartness, its hilarious excess. The combination of strict ritual and crotch-baring mess is all her own.”
Apollinaire Scherr, Foot in Mouth, November 2006. ArtsJournal.com

“They looked fierce and avenging. ...like temple priestesses.”
John Rockwell, The New York Times, November 2006.

“Downtown’s wildchild from Uruguay. …Achugar has developed a reputation as a particularly raw yet accomplished improviser.”
Wendy Perron, Dance Magazine, November 2006

“Ms. Achugar built the piece steadily from sly tease to lingering shock.”
Jennifer Dunning, The New York Times, December 2004.

"She achieves a group integration very effectively, painstakingly making these striking women interchangeable in the same careful way that mass production has done to the workforce."
Maura Nguyen Donohue, Dance Insider, December 2004.

“It was compelling in its attention to detail and the sensation of meaning behind the material.”
Alexandra Beller, OffOffOff.com, December 2003.

“Achugar is a succesful director of intention and motivation of movement for her wonderfully present dancers.”
Catey Ott, The Dance Insider, October 2002.