“heart of hearts,” was performed before the Pulitzer Fountain in front of the Plaza Hotel, amid various components of VC&A’s “enchanting floral universe,” which featured art by Charlotte Gastaut. (The seeds for this garden party were planted weeks ago, when a packet of VC&A temporary flower tattoos designed by Gastaut was tucked into my New York Times.) There were old-timey carts heaping with free tulips which were individually wrapped in brown paper sleeves. There was a string quartet playing pop tunes like “Riptide” and “Seasons of Love.” One could imagine Eloise herself donning a tutu and coming out for tea. Into this fantastical milieu, which seemed tailor-made for a romcom musical scene, rolled a trio of dancers in bright blue sweats. They commenced a circular dance, hunching forward and back over occasionally flexed, grapevining feet. For the next 20 minutes, they danced in various configurations in silence to the bewilderment of the passing Fifth Ave shoppers. At one point the dancers removed their sweatshirts to expose quirkily cut leotards, by frequent Tanowitz co-conspirators Reid Bartelme and Harriet Jung. (The duo nailed it once again; their talent for keeping Tanowitz dancers clad in basics that aren’t boring is boundless.) Tanowitz sat off to the side bedecked in a floral jumpsuit—Bloom fest camo—and held a roll of astroturf until the dancers retrieved it for a floorwork section. She seemed to relish the absurdity of the event.

The choreography was a mix of high and low—quite literally at times, as the dancers stood on the edge of the fountain or lay down on the patch of faux lawn. Figuratively, it ranged from situational jokes to Balanchine quotes. The dancers held an attitude front pose for a very long time a bit like the Phlegmatic man in “The Four Temperaments,” but in this case they also evoked a geriatric park Tai Chi class. They rotated through a series of poses on the plastic patch of lawn like the statues facing them across the way in Central Park, and Christine Flores executed some yogic moves during her grass mat solo—as if channeling the various Sheep Meadow recreationalists nearby. Flores gazed up to the top of the Plaza Hotel at one point, prompting spectators to include the skyline in their purview too. Jonathan Fahoury and Zachary Gonder stood along the fountain rim and clapped along as in the Bransle Gay from “Agon.”